1,721,098 research outputs found
Zhongshan in Sydney's Chinatown
No full textMany Chinese migrants to Australia in the one hundred years from the midnineteenth century hailed from the villages of Zhongshan county. They formed a significant proportion of Chinese who ended up in Sydney. They congregated in areas in the city that were conducive to their livelihoods, first in The Rocks, close to the harbour, and later in and around Dixon Street in the Haymarket district, where the city’s produce markets were located. Restrictions imposed by the White Australia policy, which favoured commercial activity as grounds for exemption, were an important reason why the merchant class came to dominate in the Sydney Chinese community. Their businesses were highly successful, and some of these merchants became fabulously wealthy through their establishment of iconic transnational enterprises. At the same time, they maintained their connections with their ancestral villages in Zhongshan by sending remittances, conducting trade, or sponsoring fellow villagers to come to Australia. Many of them operated from their premises in Haymarket, where their stores, warehouses, and boarding houses were concentrated. Their class privilege also enabled them to put a defining stamp on the social and material fabric of the Haymarket district, which was later officially named Sydney’s Chinatown
Partnerships for contemporary art : bridging diverging worlds
No full textThe modality of C3West is partnerships: it is an initiative constituted by the joining together of Sydney's premier contemporary art institution, the Museum of Contemporary Art (MCA), on the one hand, and three regional Western Sydney cultural institutions on the other: Penrith Performing & Visual Arts, Casula Powerhouse Arts Centre and Campbelltown Arts Centre. As C3West, these cultural partners wish to enlist business organisations in Western Sydney to invest in art projects for their own business benefit, as well as broader community benefit. Who these commercial partners are going to be and what kind of projects would be developed, involving which artists and with what kind of business, community and cultural outcomes, remains open-ended: it is precisely what C3West wishes to explore, delving into uncharted territory for all involved. Thus, C3West is a sprawling, shifting and continuously evolving web of multi-focal, cross-sectoral partnerships involving many participants and stakeholders, linked together variously and in different combinations in a multiplicity of conversations, negotiations and projects: gallery directors and their staff, representatives of businesses and corporations, and artists and their collaborators
Engaged research for the 21st century : navigating complexity
No full textIn this chapter I will argue that the key contribution of the humanities and social sciences today is to demonstrate that contemporary problems resist simplistic solutions. Instead, in order to address our current problems, we need to take social and cultural complexity seriously. To navigate complexity, our research needs to be actively and critically engaged with those problems by providing contextual knowledge and understanding about them. I will explicate some of the requirements for this engaged research at the end of this chapter
The artists and their projects : Craig Walsh, Heads up; Sylvie Blocher, Campement Urbain, the Panthers of the future/the future of the Panthers; Ash Keating, Activate 2750; Jeanne van Heeswijk, Talking trash : personal relationships with waste
No full textCritical analysis of the following projects undertaken through C3West.
Heads up : a C3West project by Craig Walsh, 2010.
Campement Urbain, the Panthers of the future/the future of the Panthers by Sylvie Blocher, 2008.
Activate 2750 by Ash Keating, 2009.
Talking trash : personal relationships with waste by Jeanne van Heeswijk & Paul Sixta, 2010
Introduction : what is the art of engagement?
No full textThe 'art of engagement' in the title of this book has a double meaning. On the one hand, it denotes artistic work that, through its association with non art organisations, engages with social communities beyond the world of art. This kind of art aligns with a strong trend in the international contemporary art world, where artists discard their posture of detachment in favour of deep immersion in the social worlds they find themselves in as the motivation for their artistic production. Art critics and theorists have described this trend using various terms ranging from 'relational aesthetics' to 'from studio to situation'. On the other hand, we wish to articulate that there is an art to the act of engagement as such. What does engagement involve? With whom does one engage? For what purpose and with what outcomes? Such questions point to the conundrum associated with the process of engagement, and highlight the fact that this process requires skill, vision and commitment. The 'art of engagement' is not easy. This double meaning of 'art of engagement' provides a succinct description of what this book is about. Through a focus on the special case of C3West, a collaborative contemporary art initiative in Western Sydney, Australia, we examine the ways in which contemporary visual artists can create art through an engagement with businesses and their communities, however defined. At the same time, our particular emphasis will be a scrutiny of the engagement process itself: its multifaceted complexities and the different ways it is conducted, negotiated and experienced. For 'engagement' is never a one-way street it always entails the participation and reaction of multiple partners who come to the party from their own, often divergent perspectives
Television and migrant children
No full textThis study is in the tradition of audience reception research and has its focus on the relationship between television viewing and the everyday life of a group of children, who had recently migrated to Australia from non-English speaking countries.
The research method applied in this study is ethnographic, using indepths interviews with the children as well as some observations about the television viewing activity in their homes.
In chapter one, I present the theoretical context in which this case study can be located.
Chapter 2 discusses the research method and provides profiles of the children.
Chapter 3 is concerned with the description of television's place in the lives of individual children, in order to give insight into social and cultural aspects of their television experiences.
Chapter 4 examines some common themes in the children's television use, highlighting how the collective experience of being a recent migrant has influence on television viewing.
The thesis is rounded off by some concluding remarks
Cultural Creation and Production in the Inner West LGA: A Case-Study Needs Analysis
Full text linkAbstract ; This report follows in the footsteps of research conducted between 2016 and 2018 for the City of Sydney Council, which had the principal aim of mapping and analysing the needs of creative venues in the local government area. Extending the case studies to 11 new venues in the Inner West LGA, the research reported here seeks to enhance understanding of the needs and challenges faced by creative space operators in the area. The reported research consists of 11 in-depth case studies of cultural venues/spaces, compiled through observational site visits and semi-structured interviews with 16 space managers and users
- …
