The Imperative of Creative Teaching in Relation to Creative Learning for Artist-Scholars Working in Higher Education

Why is it an imperative for arts institutions and academies to identify creative teaching in relation to creative learning as a vital way of addressing the politics of higher education? What is it about creative teaching in relation to creative learning that offers new priorities, new narratives, new forms of knowledge, new ways of ‘knowing how to speak’ and ‘knowing how to hear’ for creative teachers, artists and artist scholars? . .

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The Human Touch In An Automated World: Are The Creative Arts Ready To Respond?

Creative and performing arts disciplines are at an interesting juncture. After decades of concern about lack of funding, and about being sidelined in favour of the STEM disciplines, there may be some positive signals. The question is whether these disciplines are ready for the opportunities emerging from these signals. . .

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Fighting Old Battles Again?

Sitting on my shelf for the last eighteen years has been a copy of “The Strand Report”. Dennis Strand’s excellent work was for a project overseen by the Head of the Canberra School of Art, David Williams, and chaired by Peter Karmel, a leading economist and former vice-chancellor of the ANU. It was the first coordinated attempt to bring together the full range of visual and performing artists to address how they might better fit in with the developing research expectations of the National Unified System. . .

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The Art School Story

Earlier this year ArtsHub, published an article by National Association for the Visual Arts (NAVA) CEO Tamara Winikoff on the changes in art schools following the Dawkins amalgamations.  It collated views and experiences of those currently working in the university sector and provides a useful starting point to consider how contemporary universities are influencing artistic practice.  With the permission of NAVA and Arts Hub the article is republished below and has been updated by Tamara for NiTRO. . .

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Building Resilience in Visual Artists

As Bourdieu describes in his text ‘Firing Back’, the modern world has moved into a work situation dominated by employment precariousness, constant insecurity and downsizing to increase profits and therefore shareholder return. While artists have in general faced employment stresses for centuries, the impact of the broader economic move towards dominant players and markets is affecting the art world as well. . .

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Real-World Creative Learning: Embedding Arts Curricula in Festivals and Exhibitions

Real-World Creative Learning: Embedding Arts Curricula in Festivals and Exhibitions

The current trend in Australian universities has seen the proportion of enrolments in Arts subjects declining over the last decade, with regional universities and campuses more significantly affected. According to the 2015 Mapping the Humanities, Arts and Social Sciences in Australia report “entry scores are dropping and numbers declining in HASS programmes in regional universities.”. .

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Transdisciplinarity: The ‘How’ Is More Compelling Than The ‘Why’

What I think is a major stumbling block for the creative arts is they are often perceived as a siloed area of knowledge, which is only facilitated by established economies and spaces. This inevitably leads to a misunderstanding of the impact that creative arts and design have on bigger discussions related to innovation and STEM. . .

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25 World Premiers and 100 compositions: The Australia Percussion Gathering

The second Australia Percussion Gathering, directed by Associate Professor Vanessa Tomlinson alongside advisors Tom O’Kelly, Dr. Louise Devenish and Francois Combemorel was held at Queensland Conservatorium, Griffith University in July 2016. Sitting somewhere between a music festival, a conference and a music camp, the six day event brought together industry professionals, international guests, and an impressive 96% of all students studying percussion in tertiary institutions in Australia. . .

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From Uncertainty Towards Fluency: My Doctoral Journey

The relationship between academia and artistic practice is in flux, and in my view that’s one of the reasons why the space in which they meet is an exciting place to be working. I undertook two postgraduate degrees in music both of which had an emphasis on practice-based approaches. . .

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