Choreographing and Reinventing Chinese Diasporic Identities - An East-West Collaboration

In demonstrating Eastern- and Western-based Chinese diasporic dances as equally critical and question-provoking in Chinese identity reconstructions, this research compares choreographic implications in the Hong Kong-Taiwan and Toronto-Vancouver dance milieus of recent decades (1990s 2010s). An auto-ethnographic study of Yuri Ngs (Hong Kong) and Lin Hwai-mins (Taiwan) works versus my own (Toronto) and Wen Wei Wangs (Vancouver), it probes identities choreographed in place-constituted third spaces between Chinese selves and Euro-American Others. I suggest that these identities perpetrate hybrid movements and aesthetics of geo-cultural-political distinctness from the Chinese ancestral land ones manifesting ultimate glocalization intersecting global political economies and local cultural-creative experiences. Echoing the diasporic habitats cultural and socio-historical specificities, they are constantly (re) appropriated and reinvented via translation, interpretation, negotiation, and integration of East-West cultural-artistic and socio-political ingredients. The event unfolds such identities placial uniqueness that indicates the same Chinese roots yet divergent diasporic routes. In reviewing Ngs balletic and contemporary photo-choreographic productions of post-British colonial Hong Kong-ness alongside Lins repertories of Chinese traditional, Taiwan indigenous, American modern and Other artistic impacts noting Taiwanese-ness, the study unearths cultural roots as the core source of Chinese identity rebuilding from East Asian displacements. It traces an ingrained third space between Chinese historic-social values, Western cultural elements, and Other performing artistries of Hong Kong and Taiwanese belongings. Juxtaposing my Chinese traditional-based and transcultural Toronto dance projects with Wangs Vancouver balletic-contemporary fusions of Chinese iconicity, Chinese-Canadian identities marked by a hyphenated (third/in-between) space are associated as varying North American self-generated routes of social and artistic possibilities in a Canadian mosaic-cosmopolitical setting the persistent state of Canadian becoming. My conclusion resolves the examined choreographic cases as continually developed through third-space instigated East-West cultural-political crossings plus interpenetrative local creativities and global receptivity. Of gains or losses, struggles or rebirths, the cases of placial-temporal significations elicit multiple questions on Chinese diasporic cultural infusions, social sustenance, artistic integrity, and identity representations amid East-West negotiations my experiential reflection on the dance role and potency in the reimagining and remaking of Chinese diasporic identities

Textile Society of America- Seventh Biennial Symposium 2000 WHOLE ISSUE

Approaching Textiles, Varying Viewpoints Proceedings of the Seventh Biennial Symposium of the Textile Society of America Santa Fe, New Mexico 2000 The papers are unedited and reproduced as submitted. No part of this book may be reproduced in any form or by any means without written permission from the author. Students and researchers wishing to cite specific authors are encouraged to contact those individuals, as many of these papers represent work in progress, or work which has been committed for publication elsewhere. Contents Prefac

Critically Evaluating the Role of Intercultural Marketing Communications in Cultivating Relations in the Superdiverse Rainbow Nation

Contemporary societies can be classed as superdiverse. Existing research indicates that superdiversity translates into daily marketplace interactions between numerous cultural value systems. The experience of living within a superdiverse marketplace creates a range of challenges for consumers. Marketers can help shape society by mitigating these intercultural challenges through their marketing communication strategies. Problematically, the impact of superdiversity on marketing communication strategies and practices is understudied. Concurrently, little is known about consumers’ lived experiences of superdiversity. Thus, marketers are finding it increasingly difficult to communicate effectively with superdiverse consumer groups. As a result, a growing disconnect between consumers and marketers exists. Therefore, the research aim of this study was to critically evaluate the ways in which superdiversity impacts on marketing communications strategy development. To gain a holistic understanding, three research objectives were set. The first was to inspect the role of superdiversity ideology in marketing communications strategy evolution. The second was to examine the influence of consumers’ lived experiences of superdiversity on marketing communications strategy development. The third was to assess challenges prohibiting the social impact of marketing communications in superdiverse marketplaces. To improve understanding with novel insights, this project was set in a non-Western research setting - South Africa (SA). Post-apartheid, SA government sought to resolve tensions in a peaceful manner by establishing a Rainbow Nation (RN) ideology. This required widespread marketing communication. Mirroring the lack of knowledge identified above, SA consumers are increasingly discontent. A conceptual model informed the empirical study undertaken. Three theories underpin the conceptual model. They are embedded in an interculturalism approach, allowing for comparative study of marketing (Neo-Institutional theory) and how intercultural interactions and experiences shape meanings of living in superdiversity (Creolisation and Imagined intercultural contact theories). The conceptual model also supported the adoption of a multi-method qualitative research design. A scoping study reviewed SA campaigns using critical visual analysis approach. A case study examined National Heritage Day, including campaign, marketer and consumer data. A multimodal strategy was used for comparative analysis. The findings show the RN concept has lost its impact and relevancy. The marketplace calls for consumer participation and improved understanding of lived experiences to achieve the welfare stage. A more humanistic approach is needed to establish unity in diversity as a marketplace norm. Based on the findings a new diversity-sensitive marketing communications strategy – intercultural marketing - was proposed and developed. Intercultural marketing strategy is defined as a socially responsible approach to marketing communications strategy, concerned with facilitating intercultural interactions and improving societal welfare

Creating Through Mind and Emotions

The texts presented in Proportion Harmonies and Identities (PHI) Creating Through Mind and Emotions were compiled to establish a multidisciplinary platform for presenting, interacting, and disseminating research. This platform also aims to foster the awareness and discussion on Creating Through Mind and Emotions, focusing on different visions relevant to Architecture, Arts and Humanities, Design and Social Sciences, and its importance and benefits for the sense of identity, both individual and communal. The idea of Creating Through Mind and Emotions has been a powerful motor for development since the Western Early Modern Age. Its theoretical and practical foundations have become the working tools of scientists, philosophers, and artists, who seek strategies and policies to accelerate the development process in different contexts

Marcel Duchamp and New Zealand Art, 1965 – 2007 By Means of Duchamp’s Peripheral Vision: Case Studies in a History of Reception

This thesis examines the reception to Marcel Duchamp in New Zealand from 1965 to 2007. It takes as its subject two exceptional occasions when Duchamp’s work arrived in New Zealand and the various ways in which select New Zealand artists have responded to his work since that date. In doing so, this thesis acknowledges the shifting ideologies that underpin the reception of Duchamp which are characteristic of each decade. Thus it reads Duchamp’s reception through the conceptual and ‘linguistic turn’ in post-formalist practices in the late 1960s and 1970s; the neo-avantgarde strategies of the late 1970s and 1980s; a third-wave response to the readymade in the 1990s − which leads to an expanded notion of art as installation practice in the mid- to late 1990s. Finally, it offers a take on the readymade paradigm after post-modernism, as seen in a return to artisanal craft. This historical account of artistic practice in New Zealand is woven around two remarkable events that entailed Duchamp’s works actually coming to New Zealand, which I reconstruct for the first time. These are: Marcel Duchamp 78 Works: The Mary Sisler Collection (1904–1963), the exhibition that toured Auckland, Wellington and Christchurch in 1967; and the bequest of Judge Julius Isaacs and Betty Isaacs to the National Art Gallery in 1982 which included three works by Duchamp. The first took place in the 1960s during the first wave of exhibitions that brought Duchamp to a global audience. Here I argue that, rather than a belated response, this was contemporaneous with other events, proving that New Zealand was an active participant in the initial global reception of Duchamp. The second concerns the process by which Duchamp’s works entered a public collection. Here, I offer an account that reveals the uniqueness of Duchamp’s gifting of artworks to friends, and argues for the special importance of this gift, given the scarcity of Duchamp’s work, due to his limited output. This thesis also reads Duchamp through the lens provided by New Zealand’s situation on the periphery. Thus it offers an analysis of Duchamp’s life and work that, while acknowledging his centrality in twentieth-century art, takes from his example those components of his practice deemed relevant to the situation of art and artists here in New Zealand. By this means I locate those elements of Duchamp’s life story, his work and legacy that tell us something new about how to diffuse the power of the centre. Drawing on the consequences of the processes of decentralisation that have reshaped the landscape of global culture, this account reveals new relationships between margin and centre that provide new ways to connect Duchamp with subsequent generations of New Zealand artists. The aim here is to defy the assumed separation of New Zealand from international trends, rethink our subservient ties to England, to offer a new version of a local art history that knits our artists into a global mainstream without rendering them beholden to a master narrative that derives from elsewhere

A grammar of sentiment thinking about sentimental jewellery towards making new art about love and loss

This practice-led research project explores English and French sentimental jewellery of the Victorian period. ‘Sentimental jewellery’ or ‘message jewellery’ denotes jewellery created to function as a tangible expression of feeling between donor and recipient, mediated through complex narratives relating to its exchange. These artefacts codify emotion through use of complex visual languages, employing the symbolic and coded use of gems, human hair, emblems, words and wordplay. The research has expanded to encompass memorial garments known as ‘widows weeds’. The aims of the research have been threefold: firstly, to add to understanding and interpretation of aspects of Victorian sentimental jewellery and associated craft practices; secondly, to explore the metaphors and narratives inherent within them; thirdly, to test the visual and technical possibilities of knowledge thus gained to address human feeling through art. Outcomes take the form of a body of new artwork and a written thesis, which are designed to be mutually informing. Together, they articulate my response to the project’s central question: can consideration of the ‘grammar of sentiment’ at work in Victorian sentimental jewellery yield new possibilities, through fine art practice, for communicating love and loss in the 21st century? The four artworks that are a main output of the research take the forms of: REGARD:LOVEME, an artist’s book exploring gem codes and wordplay; Plocacosmos, a set of hairworking trials; The Cyanotypes, which reflect upon the materiality and aesthetic of the amatory locket; and Widows Weeds, a large format photographic installation, which considers the materiality and lineage of mourning cloth. Collectively, they explore the typology of the sentimental artefact through development of text/image vocabularies that are conceived as providing a ‘grammar of sentiment’ through which to articulate aspects of human feeling. It is this exploration that constitutes my main contribution to knowledge.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

COMM 19999: Essential Communication Skills

This open educational resource textbook provides Sheridan students with the foundational information and skills necessary to be successful in diploma-level programs. The book integrates customized Sheridan-centred content, including information on academic resources available on campus and customized readings that reflect the cross-disciplinary work of Sheridan programs, students, and faculty. With a focus on writing and research skills for both academic and professional contexts, the COMM 19999 course text is a valuable resource for students as they transition from post-secondary studies into their chosen fields.https://source.sheridancollege.ca/fhass_huma_book/1001/thumbnail.jp

Ancient Ways in Current Days: Ethno-Cultural Arts and Acculturation

This research investigates the benefits of traditional/ethnic arts participation on well-being for immigrant and ethnic minority groups. While arts programs are increasingly seen as beneficial, little empirical evidence exists to support this belief, especially regarding ethnic groups in cross-cultural transition and multicultural environments. Three phases of research were undertaken, the first being qualitative, followed by two quantitative studies. Study 1 was a qualitative research into feelings of migrant and minority artists about how their arts practices affected their lives and acculturation processes. Practitioners from a number of ethno-cultural groups of both traditional and contemporary/Western arts were included to determine whether there were differences in effects of practices between those categories. Several broad themes emerged specific to the traditional/ethnic arts category, providing strong evidence for distinction between ethnic and contemporary/Western arts in effect for ethnic peoples: Cultural knowledge, the learning of cultural history, behaviours, and mores, Connectedness, the feeling of connection to family, peers, and community, as well as to other ethnic communities, Ethnic identity development, the sense of belongingness and meaning arising from ethno-cultural group membership. Study 2 examined data from longitudinal study of New Zealand youth (Youth Connectedness Project), specifically addressing differences based on arts participation for Maori and Pasifika (Polynesian) youth. Results demonstrated that youth who participated in any arts reported greater connectedness and well-being over those who participated in no arts, and that youth who participated in traditional Polynesian cultural arts had the highest ethnic identity scores. The processes involved were modelled and tested with path modelling. Study 3 was designed to investigate components of ethnic arts practices to understand why and how the improvements in ethnic identity, connectedness, and well-being observed in the previous studies come about. Participants were recruited internationally, from a wide range of ethnicities and arts practices. The outcomes of this study include construction of cross-cultural measure of traditional arts participation factors and a structural equation which models the process by which Well-Being is enhanced. Factors arising in exploratory and confirmatory factor analyses of the scale were centrality, pride, belongingness, and cultural knowledge. In the process model tested, level of traditional/ethnic arts participation positively influenced levels of Connectedness and Ethnic Identity, which both served as mediators between level of traditional arts participation and increased Well-Being outcomes. In summary, these studies demonstrate that there are specific individual and group level benefits from participation in traditional arts for members of ethnic cultures and their communities. These benefits operate through enhancement of ethnic identity and connectedness, which in turn positively influence well-being outcomes. The results suggest that public support of such arts and programs which include such arts would lead to better adaptation outcomes for immigrant and ethnic minority groups

Ancient Ways in Current Days: Ethno-Cultural Arts and Acculturation

This research investigates the benefits of traditional/ethnic arts participation on well-being for immigrant and ethnic minority groups. While arts programs are increasingly seen as beneficial, little empirical evidence exists to support this belief, especially regarding ethnic groups in cross-cultural transition and multicultural environments. Three phases of research were undertaken, the first being qualitative, followed by two quantitative studies. Study 1 was a qualitative research into feelings of migrant and minority artists about how their arts practices affected their lives and acculturation processes. Practitioners from a number of ethno-cultural groups of both traditional and contemporary/Western arts were included to determine whether there were differences in effects of practices between those categories. Several broad themes emerged specific to the traditional/ethnic arts category, providing strong evidence for distinction between ethnic and contemporary/Western arts in effect for ethnic peoples: Cultural knowledge, the learning of cultural history, behaviours, and mores, Connectedness, the feeling of connection to family, peers, and community, as well as to other ethnic communities, Ethnic identity development, the sense of belongingness and meaning arising from ethno-cultural group membership. Study 2 examined data from longitudinal study of New Zealand youth (Youth Connectedness Project), specifically addressing differences based on arts participation for Maori and Pasifika (Polynesian) youth. Results demonstrated that youth who participated in any arts reported greater connectedness and well-being over those who participated in no arts, and that youth who participated in traditional Polynesian cultural arts had the highest ethnic identity scores. The processes involved were modelled and tested with path modelling. Study 3 was designed to investigate components of ethnic arts practices to understand why and how the improvements in ethnic identity, connectedness, and well-being observed in the previous studies come about. Participants were recruited internationally, from a wide range of ethnicities and arts practices. The outcomes of this study include construction of cross-cultural measure of traditional arts participation factors and a structural equation which models the process by which Well-Being is enhanced. Factors arising in exploratory and confirmatory factor analyses of the scale were centrality, pride, belongingness, and cultural knowledge. In the process model tested, level of traditional/ethnic arts participation positively influenced levels of Connectedness and Ethnic Identity, which both served as mediators between level of traditional arts participation and increased Well-Being outcomes. In summary, these studies demonstrate that there are specific individual and group level benefits from participation in traditional arts for members of ethnic cultures and their communities. These benefits operate through enhancement of ethnic identity and connectedness, which in turn positively influence well-being outcomes. The results suggest that public support of such arts and programs which include such arts would lead to better adaptation outcomes for immigrant and ethnic minority groups