http://hdl.handle.net/10453/301 2013-05-19T01:25:19Z 2013-05-19T01:25:19Z Hurley Andrew http://hdl.handle.net/10453/12603 2012-11-13T23:29:09Z 2009-01-01T00:00:00Z

Tell you vot, baby: ze band voss svingkink und groovink!" Horst Liepolt and the Australian jazz boom of the 1970 Hurley Andrew I first heard ofHorst Liepolt when I read about him in the liner notes for Heading in theRightDirection, a compilation of 1970S' Australian soul, jazz and funk that was released in 1995.Horst, I read, had produced quite a few of the tunes on Heading in theRight Direction. I was taken by the music and it in turn, led me to other Australian jazz from the era of the LP-as were many 'dancefloor jazz' enthusiasts from around the world, who likewise set about trying to locate the original recordings. Although Heading in the RightDirection was compiled by two Australians-Melbourne's Johnny Topper and Takse-it was issued not only in Australia but also in the USA,and was very much the result of a more widespread renewed interest in soul jazz, particularly on the part ofyoung British and American DJs.

2009-01-01T00:00:00Z Lally Elaine http://hdl.handle.net/10453/11865 2013-04-18T22:11:48Z 2009-01-01T00:00:00Z

'The power to heal us with a smile and a song': Senior well-being, music-based participatory arts and the value of qualitative evidence Lally Elaine Sweet Tonic is a singing-based participatory arts initiative based in the southwest of Sydney, Australia. This paper reports on a qualitative evaluation of the thirty-week workshop series. It provides qualitative evidence of the outcomes of the programme, linking these to recent debates about `evidence-based policy¿ approaches. It argues that, although Sweet Tonic is undoubtedly a beneficiary of the instrumentalist turn in arts policy, this framing also traps the programme into defining its success or failure in instrumentalist terms. It is suggested that, although such accounts are often dismissed as `anecdotal¿, in fact the most powerful evidence of the impact of a programme like Sweet Tonic is contained in the accounts of personal experience of participants in the programme. It is therefore necessary to understand the complexities of evidence in cultural policy, and to develop new language to talk about evidence that doesn't unnecessarily privilege quantitative or statistical forms at the expense of qualitative evidence.

2009-01-01T00:00:00Z Skilbeck Ruth http://hdl.handle.net/10453/10565 2013-02-08T03:32:14Z 2010-01-01T00:00:00Z

Re-viewing Feminist Influences in Transnational Art: A Multimodal, Fugal Analysis of Mary Kelly's Texts of 'Maternal Desire' Skilbeck Ruth The 1970s women's art movement is a foundational influence in transnational contemporary art. Developing an innovative, multimodal, fugal approach the paper discusses the formative influence of American feminist conceptual artist Mary Kelly's representations of `the intricacies of maternal desire, in her work based on her own experience of parturition. The discussion focuses on an interview with Mary Kelly and artist son Kelly Barrie by Ruth Skilbeck at the Museum of Contemporary Art, 2008 Sydney Biennale, and includes her photographs of Kelly and Barrie within their collaborative video installation Antepartum 1973 and Astralfields and Other Manifestations 2008, exhibited at the Biennale. With reference to early pieces including Post-Partum Document 1972-78, the paper argues that not only are Kelly's works highly significant in their own right, radically bringing together conceptual art and feminist self-based narrative art; as constitutive, canonical texts of the 1970s women's art movement, they initiated new multimodal forms of contemporary art and modes of dialogic textual expression that have formatively influenced the development of contemporary art and its intergenerational, social and cultural communication in transnational culture.

2010-01-01T00:00:00Z Carey Gabrielle http://hdl.handle.net/10453/10564 2012-11-19T03:45:11Z 2003-01-01T00:00:00Z

An Interview with Jonathan Franzen Carey Gabrielle NA

2003-01-01T00:00:00Z