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Hard Cover. Condizione: Very Good. Condizione sovraccoperta: Very Good. First Edition. 340pp. Black hardback with DJ, VG, First Edition, index, chapter notes, bibliography, showing people how to turn difficult conversations about race into productive instances of real change,

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Paperback. Condizione: new. Paperback. The author argues that a new debate is emerging about values: What is the value of cultural diversity in Australia? The ideas promoted by the Keating Government's policy, Creative Nation, are today at odds with the cultural change that has taken place under the Howard Government. How much do governments lead cultural change and how do they subscribe to the public mood? The ideas promoted by the Keating Government's policy, Creative Nation, is at odds with the cultural change that has taken place under the Howard Government. How much do governments lead cultural change and how do they subscribe to the public mood? This title asks: What is the value of cultural diversity in Australia? Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. In a passionate personal/political statement, Australia's most celebrated festival director and cabaret artist accuses Australia and its political leaders of selling out its arts to populism and 'the myth of the mainstream'. While at home Australians are tolerant, imaginative and flexible, the mainstream no longer allows for difference of opinion in public. Accuses Australia and its political leaders of selling out its arts to populism and the myth of the mainstream. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. In the 1970s, 80% of arts funding went to individuals; today 80% goes to institutions. The arts are dominated by giant corporations that spend a growing percentage on administration. But, says Latham, the "Titanics are sinking: it is time to get into the skiffs". To survive societys exponential change, the new artist must be engaged, versatile and independent, and able to grasp change ahead of the dominant culture. For the brave, the opportunities can be unique. Latham examines the present music and arts industry and points a way forward. In the 1970s 80 percent of arts funding went to individuals; today 80 percent goes to institutions. The arts are dominated by giant corporations who spend a growing percentage in administration. This title examines the music and arts industry and point a way forward. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Veteran filmmaker Storry Walton sees the rolling diaspora of filmmakers working abroad not as a brain drain but a stimulating asset awaiting development. Our funding structure is now world class, he says, but years of underwriting indifferent movies have created a culture of entitlement to public money which must be overcome. We must fund only the best, and draw on the skills increasingly acquired abroad to engage with the cultural and political flow of the nation. Seeing the rolling diaspora of filmmakers working abroad not as a brain drain but a stimulating asset awaiting development, the author asserts that only the best must be funded. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. In a groundbreaking assault on the present state of the performing arts, Meyrick argues that history is repeating itself and is leading to paralysis. Despite nearly 40 years of subsidy, and huge arts institutions, there are fewer theatres than existed a decade ago and these are cutting back employment. He calls for a heartfelt examination of the status quo by artists themselves and the creation of a national strategy. In a groundbreaking assault on the present state of the performing arts, the aothor argues that story is repeating itself and is leading to paralysis. He calls for a heartfelt examination of the status quo by artists themselves and the creation of a national strategy. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. The Australian Council for the Arts, once the sole public benefactor of the arts, is now one among many, writes Keith Gallasch. How well does it nurture and sustain our art in the 21st century? Gallasch surveys the history of the Council's relationship with innovation in the arts, describes the cooperative workings of arts ecosystems and how new media and hybrid arts are revitalising our experience of, and thinking about, art. He argues for a radically restructured Australia Council, one focused on contemporary arts and with its eye firmly on innovation and experimentation. The Australian Council for the Arts, once the sole public benefactor of the arts, is now one among many, writes Keith Gallasch. How well does it nurture and sustain our art in the 21st century? Gallasch surveys the history of the Council's relationship with innovation in the arts. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. In the past 20 years modern jazz has undergone an unprecedented transformation and expansion. Once Sydney dominated a modest national scene; today, with tertiary jazz courses generating a stream of talent, the impact is nowhere more visible than in Melbourne. Our jazz musicians tour overseas; their recordings are reviewed in the international journals. The Necks have achieved cult status in Europe while the pianist Aron Ottignon this year was named the London Observer's new voice of the millennium.Yet few Australians know of these milestones. Despite the changes progress is fragile. Australian jazz culture is divided and has not yet managed to counteract its marginalisation by the media. Across the spectrum of Australian music, jazz is a permanent underground, somewhere between high and low culture. Peter Rechnievski defines the causes and makes a way through to the light. Australian jazz culture is divided and has not yet managed to counteract its marginalisation by the media. Across the spectrum of Australian music, jazz is a permanent underground, somewhere between high and low culture. This book defines the causes. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. This is the second instalment of the Professional, an occasional series of Platform Papers that asks our senior artists to tell their story.Nigel Levings, today a much-honoured, internationally renowned lighting designer, upholds his role as a pioneer of his profession. Levings describes his beginnings as apprentice 'electrician' at Melbourne's Princess Theatre in the 1960s and the opportunities soon offered by the budding art theatres opening in the new wave. Since then he has lit operas and dramas in every centre of the world, won a host of awards, and is as much in demand as ever. And yet, he says, the best of his work goes unnoticed.'Lighting designers,' he writes, 'stand at the gateway between the external world of the stage action and the internal worlds of our audience.' So what does this work entail? The demands are extraordinary. You need to read his account to believe it. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. 'Those of us working in the classical music sector today', writes Canham, 'tend to have a very limited understanding not only of the general public's relationship with their own creativity, but also of the impact this has on their potential interest in the creativity of others. Which is a way of saying that none of our surveying and reporting and documentation for grant acquittals is really asking the essential 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?'But today we are in a unique position-the middle of a creativity revolution, inventing new forms of popular culture in which everyone can be a participant. Everyone is open to the idea of making their lives more beautiful or successful. Shouldn't we be adding the enjoyment of classical music to that list?'What really inspires us is awakening to our potential. Canham suggests how this might be done and describes her own experience of making 'deconstructed' opera developed with her audience. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. This is the third of the Professionals, an occasional series within Platform Papers that hands our stage to our senior artists to tell their story.Andrew Bovell is one of Australias finest writers for performance. His play Speaking in Tongues was internationally successful before being adapted into his groundbreaking movie Lantana (2001). Other plays include Holy Day, When the Rain Stops Falling and his multi-award-winning adaptation of Kate Grenvilles masterly novel, The Secret River, His latest acclaimed work is Things I Know to be True (2016), a family drama that drew packed houses in the UK.In this paper he reflects on his diverse body of work and shares the influences upon itgrowing up in Western Australia, his apprenticeship in Melbournes independent theatre scenebefore he was catapulted into an international career with Lantana (2001). He writes about the fervent friendships, collaborations and debate out of which of his plays grew, and the politics that drove them. I want every piece I write to be different from the ones that preceded it.' I want to venture into new ground each time I write a play. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Lex Marinos was born into a family of Greek cafe owners and grew up in Wagga Wagga, where the acting bug found him at a timewhen Australian forms of theatre were just being reinvented. With his Australian voice and Greek features, he set a puzzle to casting agents; but as new forms of public entertainment emerged he built a set of freelance skills to last a lifetime: radio presenter, stage and screen actor and director, all-purpose 'ethnic' in TV comedy, host of multicultural celebrations. To government he became an adviser on public events and ethnic issues.In this paper, another in the Professionals series by senior artists, Marinos reflects on how our society has transformed; and engagingly discusses how to succeed in one of the most discouraging professionsin the world. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. The Victorian College of the Arts was founded in 1972 to provide education and training in all the visual and performing arts within the one institution. It has remained unique in Australia in that charter. Since 2009, however, it has made headline news as a training institute in crisis, a situation fed by government intervention, public commentary and disputes with the University of Melbourne which now administers it. What financial pressures began has now become a deeper struggle about the nature of arts training in the 21st century.This period of crisis, writes Murphet, brought to the school a new vitality and purpose, and raised questions that go way beyond the VCA case alone. As the college begins its restoration, he presents the case for repositioning the VCA as a centre of artistic invention, shifting the debate from the maintenance of past traditions to the creation of a new paradigm in arts training for a world in which instability has become the norm. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. On Friday 13 May 2016, the Australia Council for the Arts released the results of that agency's 'Four Year Organisations' grants. The result was a bloodbath: 65 organisations were defunded, and more than a hundred that applied were also unsuccessful. The arts sector dubbed it 'Black Friday'.The defunding of a slew of Australia's best-known smaller arts companies derived from the funding cuts and changes made by the Abbott Government. All told, according to the Australian Labor Party's Mark Dreyfus, the Coalition cut approximately $300 million from federal cultural funding prior to this defunding.Before the 2013 election, arts funding had been a more-or-less bipartisan policy area, supported by both major parties. But bipartisanship disappeared in the ideological environment of the new government. The Coalition didn't just slash the Australia Council's funding. It launched a new attack on arm's length arts funding itself -- a principle that has enjoyed four decades of bipartisan support. Why did George Brandis and the Coalition do this? What accounts for this assault on the cultural sphere?This essay is an attempt to tell that story, and to question what it means. Australian culture is being attacked by political actors, beholden to an ideology of privatising the cultural space. But if there are troubling realities, there are also opportunities. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Melbourne's bid to become the world's second UNESCO City of Literature marks a new phase in the global move towards the creative city. Victoria, it is said, is where arts and culture are at the centre of economic thinking.But what does this say about the value of culture, the benefits of cultural participation and the distribution of benefits to a wider community? Do the most important impacts of the arts defy measurement? How can our cultural centres find a language to express the value that Australians see?Kay Ferres and David Adair search among our performing arts venues for a new kind of yardstick, one that might define the ineffable. Presents the early findings of a research project involving all the principal cultural centres in Australia and New Zealand. Concerns over government responsibility for the arts and offers a way forward out of the present confusion. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Expectations around theatre for young people are too prescribed today. Adults have long-held views on what works are appropriate and yet among all this concern for young people's creativity, it is not acknowledged as art. For the young people who work in the sector, the word 'value' is clouded by precedent: we struggle to be heard. In a startling expose of a system in serious need of reconstruction, Giles calls for a review of the accepted attitudes, and the embrace of a different paradigm that places young people at the centre of change. We must un-learn the past hierarchies, empower the engagement of children as a legitimate collaboration, and recognise the power of instinctive play and imagination as intelligent modes of exploration. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. This paper takes the opportunity to ask how and why a cultural institution of such significance as the ABC has been variously able, allowed, encouraged and supported to run its own race, to operate outside of, and with no regard for, a public policy framework for a sector of which it is a part. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.