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Migration, colonial Australia and the creative encounter

Translations is a personal history written at the intersection of colonial anthropology, creative practice and migrant ethnography. Renowned postcolonial scholar, public artist and radio maker, UK-born Paul Carter documents and discusses a prodigiously varied and original trajectory of writing, sound installation and public space dramaturgy produced in Australia to present the phenomenon of contemporary migration in an entirely new light. Rejecting linear conceptualisations of migrant space–time, Carter describes a distinctively migrant psychic topology, turbulent, vortical and opportunistic. He shows that the experience of self-becoming at that place mediated through a creative practice that places the enigma of communication at the heart of its praxis produces a coherent critique of colonial regimes still dominant in discourses of belonging. One expression of this is a radical reappraisal of the ‘mirror state’ relationship between England and Australia, whose structurally symmetrical histories of land theft and internal colonisation repress the appearance of new subjects and subject relations. Another is to embrace the precarity of the stranger–host relationship shaping migrant destiny, to break down art’s aesthetic conventions and elide creative practice with the poetics (and politics) of social production – what Carter calls ‘dirty art’. Carter tackles the argument that immigrants to Australia recapitulate the original invasion. Reflecting on collaborations with Aboriginal artists, he frames an argument for navigating incommensurable realities that profoundly reframes the discourse on sovereignty. Translations is a passionately eloquent argument for reframing borders as crossing-places: framing less murderous exchange rates, symbolic literacy, creative courage and, above all, the emergence of a resilient migrant poetics will be essential.

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If nobody speaks of loneliness rooms
Sean Redmond

, intensities, and possibilities. That these stories of loneliness have emerged from the remarkable selection of artwork submitted demonstrates how the ground between ethnography and creative practice can be fruitfully brought closer together. In this submission by a painter, they offer two versions of their loneliness room: ‘Figure and window’ ( Figure 8.1 ) and ‘Spirit garden

in The loneliness room
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Darlene E. Clover
Kathy Sanford

. This volume maps out various ways in which the arts and creative practices are manifest in contemporary university-based adult education work, be it the classroom, in research or in the community. It is written for all who work or would like to work beyond normative fine arts structures, who work or would like to work with community artists, who work or would like to work with arts and cultural institutions or to those who simply wish to augment the human aesthetic dimension in their educational and research practice or service work. 6 Clover_Sandford.indd 6 05

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Open Access (free)
Translating globalised knowledge in performance
Simon Parry

apparent gulf between dermatology researchers or clinicians and the young grime artists. These are not questions of physical distance as such – it is a 30-minute bus ride from the hospital to Handsworth and many people from the area will be treated at the hospital. What constitutes this gulf or boundary then? Why might it be a problem in political terms? Is it helpful even to think the problem in spatial terms like gulf, boundary or gap? How might creative practices respond to such boundaries by reconceptualising them or even bridging them? Influential accounts of

in Science in performance
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Managing multiple embodiments in the life drawing class
Rebecca Collins

Introduction There has been growing interest in the role of sketching, drawing and other forms of artistic and/or creative practice as a research method within (and beyond) the social sciences (see also Heath and Chapman, this collection). As a geographer (and a lapsed art historian) my interest lies in how artistic, craft-based and creative practices can be used to investigate, express and (re)construct spatial experience and understanding (see, among others, Bain, 2004 ; Banfield, 2016 ; Hawkins, 2011, 2012 ). Such practices are often seen as

in Mundane Methods
T. J. Demos

. While ecocritical analysis of climate change’s visual culture is still very much in development as an interdisciplinary formation, it must now consider competing models of creative practice (rather than institutional art alone) if it is to aid in defining and responding to the conflictual emergencies of climate breakdown. Adopting that working hypothesis, this chapter does not focus on conventional forms of contemporary art, but rather reflects on three disparate creative practices from the late 2010s – those of Extinction

in Art and knowledge after 1900
Open Access (free)
Using arts activities to support staff working with people with dementia in care homes
Chloe Asker
Victoria Tischler
, and
Hannah Zeilig

; creativity and creative practice was the catalyst for social interaction, relationship and community building. Creativity brought people together during a difficult time. We therefore focus on examining how creative practice in care home staff that improves the quality of social care provision can be supported and facilitated. This is urgent given that there were 165,000 vacant posts

in Creative approaches to wellbeing
Arts-based approaches to supporting healthcare workers through a pandemic
Suzy Willson
Graham Easton
Sandra Nicholson
Bella Eacott
Eliz Hassan
Pedro Rothstein
, and
Paul Heritage

challenges faced by these groups as a result of COVID-19 and to discover if there were lessons from creative practice that could address the challenges. The research undertaken by a combined team of academic, artistic and healthcare professionals shows that arts-based strategies can play an integral role in recovery from the pandemic for those working in healthcare settings. The

in Creative approaches to wellbeing
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throughout Sopinka's novel, detailing women's struggles with autonomy, self-presentation, and emotional labour. The practical, minimalist design of Horses Atelier would seem tailor-made for Sopinka's intrepid character and suggests that Sopinka embeds her vision into her entire creative practice. Sopinka is also a licensed helicopter pilot and has worked as a travel writer in South-East Asia and bush cook in the Yukon, roles which have significantly shaped her views on ecology and survival in extreme environments. 17

in The medium of Leonora Carrington
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The complexities of ‘radical openness’ in collaborative research
Daisy Hasan-Bounds
Sarita Malik
, and
Jasber Singh

achieved in a context where disenfranchised communities are actively part of the research process and are situated as agents making claims on their own terms through creative practice. This leads us to provide a critical account of the opportunities and challenges that accompany creative collaboration. By critically surveying the dynamic and negotiated nature of co-creation, the chapter highlights some of the contrasts between the promises of collaboration and its reality. It thus expands the discussion about co-creation and does not ‘naively assume that [co

in Creativity and resistance in a hostile world