Honours Book

My Honours thesis has been published in paperback and is available from http://www.amazon.com/Participation-Wellbeing-Regional-Western-Australia/dp/3838318315/ref=sr_1_1?ie=UTF8&s=books&qid=1256211939&sr=1-1

I haven't received my copy yet, but the original honours thesis is in Edith Cowan University's Mt Lawley Campus Library, Western Australia. I can also email a pdf version for no charge if anyone is interested.

Research, not evaluation

I want to focus on research, not evaluation. Its not that I don't think evaluation is important, quite the opposite. Evaluation is an essential component of the strategic planning process and should be employed by everyone as a matter of good business practice. If a project or programme has specific objectives, including an aim or a vision, then the contribution of that project to those original aims should be evaluated so you can make a judgement about how successful it was.

But what I'm interested in focusing on is research.

According to the University of Western Australia, "research comprises creative work undertaken on a systematic basis in order to increase the stock of knowledge, including knowledge of humanity, culture and society, and the use of this stock of knowledge to devise new applications... it should have investigation as a primary objective and should have the potential to produce results that are sufficiently general for humanity's stock of knowledge (theoretical and/or practical) to be recognisably increased.”

To achieve this I'm suggesting that a reframing the language is needed. I want to determine the “role” of the arts in rural communities, rather than the “impact” of the arts on particular outcomes.

“ROLE” suggests that the arts forms an integral part in adapting to change and the aim of the researcher is as such to determine how and where the arts fits, among other factors, to contribute towards the social sustainability of rural Australia.

“IMPACT” implies that the arts is something which is external to rural life and should be administered in order to effect change, rather than work with what arts activity is already taking place.

My problem with evaluation masquerading as research is the ability to make generalisations based on those evaluations. All kinds of arts activities are going on all the time. The difficulties in measuring arts impact to date is not just that the arts is so extremely variable, but impacts are difficult to quantify because they are not so easily isolated among the myriad of other influences and interactions that take place whilst engaging in the arts. This includes the various nuances, personalities, environments specific to individual projects.

There is a need to build both a tool kit for evaluating and measuring outcomes for evaluation purposes, as well as building a sound research base on the role or the place of the arts in society.

Wide Open Road

I don't think anyone born in Australia can quite grasp how big and comparatively empty our continent is compared to the rest of the world. More so for those of us born in Western Australia (WA) which is again less fertile, more isolated and less populated than the east coast of Australia.

I am sitting in a rural conference in Maribor, Slovenia. A place where only one third of the population live in towns of more than 10,000 inhabitants, the remainder in smaller towns and villages. But I have a suspicision that their experience of 'rural' is quite different to that we have in WA.

Despite so many people living in small towns, the country still has a population density of almost 100 people per square kilometre. Compare this to WA, which has around 70% of the state population living in the capital city of Perth. A look through the regions of WA reveals that the majority, again, live in regional city centres, not in the rural countryside. Furthermore, compared to Slovenia's population density of 100 people per square kilometre, WA only has 0.08 people per square kilometre.

Australia is big and it's siye is only made more vast by the few people that inhabit it. So considering both size and isolation of the population, how does this impact on AUstralian culture and the arts?

Keep in mind also that, with the exception of Indigenous culture and heritage, exisiting cultural traditions are extremely young compared to the monuments, icons and traditions of much of the rest of the World. As a nation, Australia is only a few hundred years old, yet the constant steady stream of migrants from all over the world has further disrupted the development of a unitied cultural tradition.

Less people, bigger spaces, fewer icons. Yet also greater diversity and freedom to create and invent our own traditions. Not binded by the past, not living in the shadows of a long or mighty history.

For me, this creates a nation with fewer hang ups, proud to be new and different, less formal, easy going and willing to give anything a go.

Australia is a blank canvas, reflecting and absorbing the cultures opf the world to create and define our own sense of self, our own art, our own tradition. Space is a big factor, we have lots of it, this is unique in itself. We have space to try, to experiment, to create. It's fertile ground in terms of culture and the arts, our wide open road.

Drowning in Nouns

How many ways can we possibly say, "we like it, and it's good for us in lots of ways that are good"?

One of the truly fascinating, and sometimes extremely frustrating, parts of this research is the number of different nouns available for me to use to say essentially the same thing in slightly different ways.

Not sure what I mean? The working title of my research when I first started this project was, 'the arts and social wellbeing of Australian rural communities'. Fairly straight forward? Well, yes. However, as with the term 'social capital', I'm getting the feeling that some people are a little over the term 'wellbeing' and prefer instead to use language like, 'resilience', 'inclusive' or 'engagement'. I was doing some reading today and was surprised to find the use of the noun 'community' also coming under some criticism.

A scan of some of my working titles for individual papers includes titles like: 'Determining the role/Measuring the impact/Finding a place for the arts and rural resilience/inclusion/revitalisation/inequity/empowerment'.

Yes, I do realise they are not all the same thing. But the amount of overlap is uncanny. That I can use the one project to generate a list of nouns like the ones above is quite a feat.

While it is useful to make distinctions between these terms, none of them has ever come out on top as the best name for all the applications/use/benefits/outcomes of the arts. I guess then I'm back to where I started.

When I think about the definition of wellbeing, at its most basic it refers to being well. Being well could easily encompass a huge array of nouns that all contribute to the betterment of both individuals and communities (or clusters of people who share a commonality, such as location, interests, etc.). To be socially well, we need to have a certain amount of understanding, tolerance and respect for each other. We also need to feel confident and empowered within ourselves in order to build individual resilience so that we can support each other to make our communities resilience.

I think I'll stick with my original title :)

Australia racist?

I realise I am at risk of stating the obvious, but the experience of Indigenous Australians is very different, and quite far removed from the experience of non-indigenous Australians.

Non-indigenous rural Australians are concerned with maintaining or strengthening sense of community. They do not want the vitality or the viability of their town to be undermined. There seems to be an increased focus on stimulating economic diversity and growth in order to create a more vibrant community.

There is a strong focus on the quality of life that rural living provides. No one wants to leave because they enjoy the rural lifestyle, but they are concerned that fewer people are around, available, or willing to contribute and therefore their quality of life is threatened.

For Indigenous Australians, the threat IS the reality, when compared to their non-indigenous neighbours. I won't bore you with statistics, as these are the obvious, quantifiable signs of inequity. So I'm not here to argue that Indigenous Australians are disadvantaged, this is already a given, I just wanted to point out how this inequity has shown itself in my research.

As I've already mentioned, non-indigenous Australians lament the loss of population because this has meant that there are fewer people to provide services, events and activities for the community than there was before. Rural towns are considered lucky if they can still manage to get enough players for one football team, others are happy that at least the tennis is still going... even though they only play socially now. This is not to mention the contribution of service clubs, charity organisations, action groups, or other community groups. Rural Australia must have been an extremely vibrant place to live when all of these activities were at their peak.

However, even in its hey-day, this experience was NOT the experience of rural Indigenous people. Indigenous Australians were confined to reserves or sent to missions. They now live in established towns or in Indigenous Communities (which are still not recognised as town sites in their own right, despite the presence of schools and other community facilities). The past treatment and injustices experienced by Indigenous Australians has carried on over several generations through drug and alcohol abuse, social problems and racism.

Non-indigenous rural Australians are using the arts in economic development, as a buffer for the changing economic and social make-up of their communities, and to facilitate and make the best use of existing social networks.

Indigenous Australians are using the arts to deal with trauma and address social problems, to reconnect with their culture, re-establish a sense of place and forge a common identity.


I spoke to an Indigenous elder who told me that "Australia is racist":

"Having ATSIC, the Department of Aboriginal Affairs, the fact that having a Department of Aboriginal Affairs proves that Australia is racist. If we’re all Australians we shouldn’t have one department for one mob. Community welfare means community welfare, community health means community health. There should be no need for Aboriginal Medical Service. It's there because somebody missed out on doing their job. So it’s a two-way thing, the white fella getting lazy and he's racist. So, you have an Aboriginal Legal Service (we shouldn’t), because the ordinary legal service isn’t doing its job... So Australia is built on racism. If we’re all equal, well we be equal."

When I started this research, I wouldn't have thought that the issues could have been so "black and white", but they are. I made a concerted effort to make sure I got an Indigenous perspective on this research, but it wasn't as easy as arranging interviews with non-indigenous representatives. I needed to be flexible with both my time and my approach. I needed to listen to the experience of others. I needed to be extremely conscious of establishing mutual respect and trust, so assumptions weren't made about MY intentions.

Inequity, experienced in any aspect (race, gender, etc.), can be addressed as long as it is first recognised and then ACTIVELY examined. You must be fully aware that relying on previous experience may in fact be perpetuating inequity, therefore you must recognise existing prejudices (including your own), be prepared to be unprepared, in other words, be flexible and keep an open mind.

Blokes & the Arts

More recently I have been looking a little more closely at gender differences and the arts. This has been mostly because I was only finding women to talk to. But also because it has come up in a few casual conversations. Particularly in reference to arts and community centres that, while successful for the community, have been underutilised by men.

No surprise that women are more likely to form the arts & craft groups, whereas men are more likely engage in the arts as a solo pursuit. It's interesting though, that in general contemporary music programs have to create initiatives to try and increase female participation, as men tend to dominate the local music industry.

You just have to look at the gender balance at events like the Meekatharra Battle of the Bands. I saw only two women perform on that first day, and they were both soloists. As far as reaching priority target groups within the community, the competition was completely dominated by indigenous males.

There are other areas of the arts, in addition to contemporary music, where blokes tend to get more involved:

1. Graff art or street art.
That is, using spray cans to paint on walls/canvas/skateboards/etc. This also ties in nicely with hip hop, breakdance & rap (modern day storytelling!). So not only do you engage boys in a form of visual art there is the bonus of the performing arts of dance and music.

2. Manual arts (metal work, wood work, sculpture generally, etc.)
This would also include things like emu egg carving and the making artefacts, such as spears, weapons, and other fantastic creations.

3. Movie making and digital arts (film, video, animation, graffic design, etc.)
This can involve set building and acting, or better still, stunts & special effects!

In my experience, think big and loud, plenty of action thrown in with the use of gadgets, tools, or machinery and you won't have any problem engaging blokes in the arts :)

When it comes...

We go!

I’ve been toying with the idea of exploring the phenomena of rural residents who attend arts events, and other activities in their town, not because they think they will enjoy it, but out of a sense of obligation that if they don’t go, their town will miss out next time.

Sounds like a great idea for a paper, but I’ve been having trouble trying to get some references together – maybe there just isn’t any out there? Please someone, prove me wrong!

I’ve had an audience survey go out over the past year with performing arts shows that have been touring regional Western Australia. The statistics on their own haven’t told me anything too profound as yet. It was mostly to get some numbers on who was going and what else they got up to, because so few statistics specifically on regional arts attendance exists. The most fascinating part of the survey was the comments at the end.

My impressions so far are that some of the respondents of my survey will support touring shows because they want to support their local community, they want to show their support to the organisers (who are invariably local), and out of a sense of obligation to show their support to the performers who made the effort to visit in the first place.

Comments such as the following really bring this point home:


“Though we originally intended with the viewpoint of making up the numbers, we thoroughly enjoyed ourselves!”

On a similar vein, many respondents implied that their attendance at the current event ensured that future events would also tour to their town:

“To ensure good attendance, so that future events are held here”

“Because it was available locally and it’s important to support so as we get more”


So are regional audiences more committed arts attendees than metropolitan audiences? From the responses I received, it would appear so. This was suggested by a few respondents who commented that they “would attend good quality performances locally, exceptional in Perth”. It was also suggested that because there are fewer channels of communication in small towns, local residents were more likely to know what was going on and therefore they would attend:

“If this was in Perth it would be harder to get to and most likely (I) wouldn’t hear about it.”


Fascinating stuff.

I’m distributing a household survey to the focus region for my research within the next few months or so, so it will be interesting to see how the responses compare to the audience survey.

Only 18 months on the PhD to go!