Walking together: Artistic collaboration across cultures in Australia and New Zealand

As an artist and writer who often works across disciplines and cultures, my education into effective and respectful engagement has been built on my experience working with First Nations friends, collaborators, and Elders. The aim of this paper is to explore teachings from a number of these leading thinkers, writers, and Elders on the topic of knowledge sharing, cross-cultural awareness, and ethical engagement through practice-led research. Drawing from personal experience, it will incorporate learnings that have informed a world view that has been evolving since childhood. The paper highlights the importance of giving rightful recognition to knowledge keepers and provides some guidance for readers interested in developing productive and respectful partnerships with First Nations collaborators. Here knowledge can be safely shared and celebrated as ways to understand the world around us that are restorative and regenerative. I speak as a woman of mixed European background raised in Australia on Gubbi Gubbi Country of South East Queensland, and Larrakia Country of Darwin. Culturally, I am descended from Norse, Celt, Saxon, and Druid ancestors. Through this lived experience I hope to share learnings that support the goals of reconciliation, truth telling, and First Nations determination in my home country, as well as facilitating greater awareness for people seeking to respectfully engage with Indigenous knowledge.

Pylyp Kozytskyi's creative collaboration with Galician artists

The article deals with the many-sided creative personality of a composer, scientist, teacher and music and public figure Pylyp Kozytskyi (1893-1960) through the prism of his artistic collaboration with prominent epresentatives of artists from Galicia, especially a singer Modest Mentsynskyi, a composer Vasyl Barvinskyi, a director Les Kurbas and teachers and pedagogues of the Lviv Conservatory. Such meetings and contacts contributed to the development of Ukrainian musical culture and education, because the exchange of experience, creativity, organization of concerts and first performances of works by Galician authors in Great Ukraine created a new page in the history of Ukrainian music.

Joining Forces for the Art of the Homeland: The Jahrbuch für bildende Kunst in den Ostseeprovinzen (1907–1913) from the Perspectives of Artistic Collaboration, Visual Documentation, Design and Typography

The article is the first attempt to give a focused analysis of the annual art and architecture periodical Jahrbuch für bildende Kunst in den Ostseeprovinzen that was published by the Riga Society of Architects in 1907–1913 (since 1911 as Jahrbuch der bildenden Kunst in den Ostseeprovinzen). The main aspects of interpretation include the aesthetic programme of this yearbook and a chronology of its implementation, prehistory, models and context, qualities of design and typography, identity of designers, highlights of the visual and textual content, scope of and gaps in national and regional representation, as well as influence on other initiatives in the field of art periodicals.

James Kudelka

James Kudelka glides comfortably between the worlds of ballet, modern dance, and postmodern dance. As one of Canada’s most prolific choreographers, he has a repertoire that bridges classical and contemporary modes as he moves skillfully between revisiting classical behemoths such as Swan Lake and creating entirely new works driven by his masterful relationship to music and his ability to push the boundaries of ballet vocabulary and partnering. This chapter contextualizes Kudelka’s work within the historical narrative of ballet in Canada and his impact on the repertoires of the National Ballet of Canada and Les Grands Ballet Canadiens. Kudelka’s dominant themes of love, sex, and death; his vocabulary and strong emphasis on artistic collaboration; and his musical awareness are all crucial elements of his creative process and are integral to his exploration of the human condition through ballet.

Gastronomic Algorithms: Artistic and Sensory Exploration of Alain Passard's Michelin Plates in the Manner of Giuseppe Arcimboldo with GANs

Although recent advances in artificial intelligence to generate images with deep learning techniques, especially generative adversarial networks (GANs), have offered radically new opportunities for its creative applications, there has been little investigation into its use as a tool to explore the senses beyond vision alone. In an artistic collaboration that brought Chef Alain Passard, art historian and data scientist Emily Spratt, and computer programmer Thomas Fan together, photographs of the three-star Michelin plates from the Parisian restaurant Arpège were used as a springboard to explore the art of culinary presentation in the manner of the Renaissance painter Giuseppe Arcimboldo.

Neurodivergency and Interdependent Creation: Breaking into Canadian Disability Arts

Disability arts has traditionally been understood as that which is led, created, and/or curated by disabled artists. While disability arts and culture in Canada has continued to grow and develop over the last number of decades, I have perceived a notable lack of neurodivergent artists being included at disability arts events and community gatherings. I question if this lack of representation may be due in part to this perception of disability arts as having to be led exclusively by those with lived experience of disability. In this paper, I will critically engage with concepts of inter-abled artistic collaboration, interdependency and the need to re-imagine disability arts leadership structures to better include neurodivergent artists and their allies. I will further position my ideas around this topic within the context of the roundtable discussion on the future of disability arts leadership that took place at the Cripping the Arts Symposium in 2019.

Feigned and Distorted Bodyscapes

Creative interdisciplinarity in performance and scenography permeate the masking and disguising of the avant-garde. Chapter Four highlights the artistic collaboration of choreographers, composers, visual artists and writers in Paris and beyond, beginning with the production of Parade in Paris (1917) and concluding with work of Vsevolod Meyerhold in Moscow in the 1920s. Popular performance disguising by Liesl Karlstadt and Karl Valentin in Munich, as well as Alexander Vertinsky’s Ukrainian Pierrot, contrast with much of the abstraction proposed in other urban bodyscapes. The bold distortions of Aleksei Granovsky’s mises en scène with the State Yiddish Chamber Theatre complement the masquerading described in Paris with the Swedish Ballet and the Ballets Russes. This chapter parades a line-up Charlie Chaplin, Clowns and Pulcinella interpreters alongside the omnipresent Pierrots who offer an escape from the troublesome years of war. In this era, disguising also proliferated in domestic and military circumstances as malingerers and ‘Aspirants and Pretenders’ displayed Chaplinesque masquerading skills throughout the belligerent communities and battlefields of Europe.

Variations in the Ways that Collaborations Surround and Effect Ethnographic Research Projects

This chapter describes experiences in collaborative projects through the 1990s and from 2009 to 2010 that have made an impression about how ethnographic work builds collaborative contexts. It provides a commentary on the perspective in collaborations with Doug Holmes, who co-authored an account on sustained collaborative friendship, and Keith Murphy, who tried to introduce a design-influenced pedagogical form that teaches the model of ethnographic research in a collaborative form. It also talks about the collaboration with Luke Cantarella and Christine Hegel on the atelier model of artistic collaboration across ethnographic projects based on scenic studio design and workshop methods. The chapter explores the heightened assessments of change that was brought on by the self-consciousness in the 1990s. It mentions a series of annuals by the University of Chicago Press on recruiting those with specific ethnographic experience to document change.

PreScribed (A Life Written for Me): A Theatrical Qualitative Research-Based Performance Script Informed by General Practitioners’ Experiences of Emotional Distress

This paper includes the script from a research-informed, theater-based production titled PreScribed (A Life Written for Me), which depicts the life of a distressed General Practitioner (GP) who is on the verge of breaking down and burning out. The authors provide context for the collaboration between artist and researchers and report on the creative methodological process involved in the co-production of the script, where research findings were imaginatively transformed into live theater. The researchers provide their reflections on the process and value of artistic collaboration and use of theater to disseminate research findings about emotions to wider audiences. It is concluded that qualitative researchers and artists can collaborate to co-create resonant and powerful pieces of work which communicate the emotions and experiences of research participants in ways that traditional academic dissemination methods cannot. The authors hope that sharing their experiences and this script as well as their reflections on the benefits of this approach may encourage researchers and artists to engage in this type of methodological collaboration in the future.