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The female free-improvising oboist: an investigation into the ways instrument, gender and community affect agency in free improvisation
Get PDFThe aim of my autotheoretical and practice-led research has been to deepen understanding of the ways instrument, gender, and community affect the free improvising I and others undertake and the agency we have in doing so. My praxis is located in the free improvising communities of which I am a part in London and Canterbury. In this thesis I discuss the masculine social and sonic constructs I have uncovered, and the ways in which these function as tacit challenges to agency for women instrumentalists. Self-developed instrumental technique in free improvisation is compared with the imposed classical training I and many women free improvisers received. The sediment of this technical practice on instruments designed by and built for men is seen to act as one of several unintentional barriers to agency in free improvisation for us to negotiate. The development of my unique new instrument, the gliss anglais to overcome this obstacle, is discussed. I argue that the feministing practice I and others undertake is a push against the individualistic quest for ever more virtuosic self-expression which typifies much of the masculine free Improvisation canon to date. I demonstrate that a feministing ‘making with’ in which agency is shared, and precarity and imprecision are welcomed into improvisations, acts in part as an unmasculining of the canon by those of us practicing it.
I write from a feminist perspective. The introductory material situates my practice and defines key concepts. The methodology positions my feminist and autotheoretical stance within relevant literature. Chapters one and two function in part as a contextual review. Chapter one explores my practice as a classically trained oboist, and the challenges I negotiate as a free improviser in a masculine environment. Chapter two uncovers the androcentric roots of free improvisation in my communities, the obstacles this has created for female instrumentalists, and the ways in which I and other practitioners are overcoming these.
Chapter three contextualises recordings of my improvising voice and explains my development of and praxis with the gliss anglais. Chapter four explores recordings of my collaborations with others together with my use of invitation scores. The final part of this portfolio is a recording of an autotheoretical performance I co-curated and performed in titled Social Virtuosity. I conclude with a summary of my findings and discussion of their implications for further research
Practical considerations for assessing product-related circularity and product social considerations within LCSA: insights from industry
Get PDFThe report provides the findings of 21 in-depth industry interviews with the aim to gain insight into if and how product circularity is understood, implemented, and measured by industry. The research was completed as part of ORIENTING project, funded by funded by the European Union’s Horizon 2020 Research and Innovation programme under grant agreement No. 958231
FAT China
Get PDFThe "FAT (Film, Art & Theatre) China" exhibition brings the spirit of independent creative practice in China to the University for the Creative Arts’ Farnham campus. It will showcase collections from recently launched Chinese Independent Film Archive (CIFA) located in Newcastle University. A range of thought-provoking works in film, art and theatre produced by independent artists from China will be displayed to throw a new light on creative practice and provoke discussions about a range of social and political issues in China. "FAT China" presents Ren Zhijun’s drawings, Wang Wo’s film posters and Wu Wenguang’s documentary – Bumming in Beijing. By showcasing different forms of artistic works from the three artists, the audience will have a glimpse into the artistic spirit in China from the 1980s onwards.
Curated by Dr. Ang Gao; co-curated with CIFA
Event organiser: Dr. Ang Gao
Co-organiser: Stephen Featherston
Responsible research and innovation: opportunities and challenges for UK-China collaboration in the creative industries
Get PDFResponsible research and innovation (RRI) aligns research and innovation with societal values, needs and expectations. It increases the quality, relevance, social acceptability and sustainability of research and innovation outcomes. RRI is a key concept in the major research and innovation programme Horizon 2020, but it is unfamiliar to the creative industries. This paper explores the relevance of RRI to the creative industries and examines the opportunities and challenges for UK-China collaboration in this area. The research methods used were workshops for data collection and thematic analysis for data analysis. This paper has identified significant stakeholder interest in UK-China RRI collaboration in the creative industries, related emerging research and innovation trends, potential areas for collaboration and challenges. The main contributions of this paper include providing an understanding of RRI from the perspective of key stakeholders in both countries and offering practical next steps for further exploring UK-China RRI collaboration in the creative industries sector
A 'new social virtuosity'; a dissonant manifest(o)
Get PDFThis paper examines the intersection of music, creativity, and society through the lens of a critical and self-critical appraisal of the here.here concert series; ongoing research-led collaboration focusing on transdisciplinary approaches to experimental music with a focus on the socio-politico-environmental dynamics at play between all involved in a musical encounter. The authors, both academics and composers, contend that experimental music, in its super-local, interpersonal connections, can challenge the conventional and institutional, serving as an alternative to the homogeneity and self-centred individualism fostered by capitalist systems. They propose the concept of a 'new social virtuosity ,' viewing the music landscape as a vast terrain where various musical, artistic, and creative directions intersect and converge, transcending presumed binaries.
The paper foregrounds the significance of curatorial practice in bridging these differences and harnessing social dissonance, particularly in the context of the capitalist systems which enable these concerts. The authors argue that curation, despite its necessary interplay with these systems, can act as a tool to disrupt and question them. They explore how the act of curation influences social and political dynamics, examining its potential to create new ways of interaction and empowerment. This approach serves as a contrast to those systems that often cause disconnection and isolation.
The authors reflect upon three case studies from the last two seasons of the here.here concert series that explicitly focused on the concepts of ‘ventriloquy’ and ‘social virtuosity’ as forms of creative agency: entering into critical dialogue with and giving voice to seminal works (Cage 4’33, Alexander J. Ellis (1814-90)) for the former and three contemporary pioneers of ‘social virtuosity’ – Eva-Maria Houben - Maggie Nicols and Eddie Prevost for the latter.
The concept of 'social dissonance' is examined, illustrating how it can be used as a catalyst for creative dialogue and solidarity, while also encouraging a deeper understanding of our shared societal dynamics. Lastly, the paper introduces the concept of 'a new social virtuosity', emphasising the importance of listening, collaboration, and collective intention in creating a shared musical experience that expands beyond the stage to include the audience. It concludes by examining the performance of 4'33 within this context and underscores the power of dissonance as a tool for creative and critical thinking
Introduction and co-convenor
Get PDFIn May 2024, MOMus-Thessaloniki Museum of Photography organised the Greek edition of Fast Forward: Women in Photography in partnership with the University for the Creative Arts (UCA) and the University of Sunderland.
The theme for the fifth conference focused on the hidden (hi)stories of women’s photographies seeking to reflect on current debates on gender justice.
Writing about the recognition of ‘women’ as a political subject and questioning who has the power to define what ‘women’ means, Silvia Federici urged: “We must identify the world of antagonistic politics and power relations by which our bodies are constituted and rethink the struggles that have taken place in opposition to the ‘norm’ if we are to devise strategies for change” (2020: 10). And indeed, as Françoise Vergès argued, if we are to “re-humanise the world” and fight against the ways “femonationalism” and “femoimperialism” service neoliberalism (2021:17), we need to move beyond mainstream narratives and normative histories, beyond relational notions of centres and peripheries and bring to the fore the hidden stories of anonymous women, those identifying as women and non-binary people told by and through photography.
The conference aimed to explore the following questions and beyond:
>> How can photography demystify the socio-culturally constructed notion of ‘women’ and advocate its expansion to include transgender, gender-fluid and non-binary/non-conforming identities?
>> How can we understand women’s photographies considering the often oppositional diversities of prescriptive identities, socially constructed performances of gender and reproductive labour, racialisation, enslavement, and colonisation in different social contexts and historical periods?
>> In what ways may photography become a weapon for equality, reproductive justice, deracialisation, and freedom for women, those identifying as women and non-binary people against the oppressive power of heteronormative patriarchy, the state, and capitalism?
>> What are the (hi)stories of women in front and behind the camera that are silenced or disregarded from normative art histories and institutions? What are the fundamental barriers in such systems and how may women’s practices be included in multiple narratives rather than being confined to gendered interpretations?
>> How has the “performative turn” affected the curatorial practices of exhibiting women’s photographies and how have their unknown (hi)stories been represented in museums?
>> What would just and inclusive histories of women’s photography look like from a transnational, decolonial perspective?
Organising Committee / Convenors:
Professor Anna Fox (Fast Forward, University for the Creative Arts)
Maria Kapajeva (Fast Forward, University for the Creative Arts & Estonian Academy of Arts)
Dr Iro Katsaridou (MOMus-Thessaloniki Museum of Photography & Hellenic Open University)
Dr Areti Leopoulou (MOMus-Thessaloniki Museum of Photography)
Professor Alexandra Moschovi (University of Sunderland)
Dr Penelope Petsini (University of West Attica & Panteion University
Imagining Architectural Futures
No full textBuilding + Breaking: Eight Conversations about Spatial Justice stems from a series of conversations with architects, academics, and activists about the role of architecture in social justice. Eight accessible chapters delve into topics such as being an activist in architecture, how architectural practice can include more diverse perspectives, how education shapes the architect’s image, and a women’s history of architectural practice in Jutland. The book continues to discuss how race, religion, and architecture are co-implicated, how architects can learn from queer spatial practices, develop caring relationships with the more-than-human, and finally, how minoritarian futurisms can illuminate more just and joyful architectural futures
“I deserve better grades.” Compliance-gaining perspective of dark triad traits, power distance and academic entitlement in Chinese higher education
Get PDFPurpose
Dark triad (DT) personality traits, that is, Machiavellianism, narcissism and psychopathy, are socially unenthusiastic and predict a range of antisocial behaviors. Academic entitlement, similarly, demonstrates the students’ rising temptation of higher grades without putting corresponding efforts. Based on coercion theory, this research investigated power distance as mediator between DT and academic entitlement (externalized responsibility and entitled expectations). Further, this study examined DT model of personality as a predictor of academic entitlement in Chinese higher education institutions (HEIs).
Design/methodology/approach
Chinese HEIs were ascertained for data collection. Students (with bachelor’s, master’s and Ph.D. degrees) responded to 719 questionnaires for data analysis. Hypothesized relationships were examined through partial least squares structural equation model (PLS-SEM).
Findings
This study established positive and significant direct link between DT and academic entitlement. The indirect effect through power distance was found insignificant between the relationship of DT and academic entitlement.
Originality/value
Based on coercion theory, this study extends the prevailing literature through unexplored effects of DT on academic entitlement and role of power distance in Chinese HEIs. This study validated the effect of DT on academic entitlement; however, direct-only no-mediation of power distance between the relationships is novel in Chinese HEIs. Moreover, power distance as mediator is novel between the relationships. Hence, this study provides an understanding of mentioned associations and contributes to the literature
The joy of apples and seaside forensics: engaging the local community to explore the built environment
Get PDFMy practice foregrounds community engagement, placemaking and inclusion in relation to design and the built environment, achieved through a variety of projects, events and workshops. As an Early Career Researcher, I’m building on this practice to develop my academic research. My presentation is an introduction to two such recent projects.
'The Office for Field Forensics: Folkestone' is a fictional investigative agency dedicated to the study of the urban, social and environmental conditions that define a particular location. Working with students from East Kent College, St Peter’s C of E Primary School and University for the Creative Arts, we developed a body of creative research that we archived and presented in the form of models, drawings and a publication, representing a glimpse into the make-up of a town as the participants understand it.
Yinka Ilori MBE’s 'Slices of Peace' was a public art commission for Kings Hill in Kent, the result of a cultural partnership between Liberty Property Trust, Kent County Council, Turner Contemporary Margate, FutureCity, and UCA. Supporting the project was AtelierUCA, a team of students and graduates who supported public engagement, project documentation, and the development of the accompanying exhibition and publication
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