Coming to the end of my Bachelor of Music degree at Queensland University of Technology, I’ve been thinking about what I could offer to the future students that are about to encounter their three-year stint. This should be applicable for anyone suffering studying a Creative Industries/Arts degree, even those that have graduated can look at this and exclaim “YEAH, I DID THAT!”.
WHAT GOD DOESN’T GIVE TO YOU…
Has Laura Jane Grace found Total Clarity?
by Rob Knaggs
In May of 2012, Josh Eells of Rolling Stone released a story titled The Secret Life of Tom Gabel; an article detailing the interview between the music magazine’s journalist and the frontman of Floridian punk group, Against Me!, and his decision to publicly announce his enduring plight with gender dysphoria (Eells, 2012). The condition is described as a phenomenon in which a person feels their physical appearance and anatomical sex is contrary to their gender identity. The experience is accompanied by a persistent feeling of discomfort, social anxiety and distaste for their own body (Blunden and Dale, 2009). Gabel explains his dysphoria “The cliché is that you’re a woman trapped in a man’s body, but it’s not that simple. It’s a feeling of detachment from your body and from yourself. And it’s shitty, man. It’s really fucking shitty” (Eells, 2012). Continue reading “What God Doesn’t Give To You… – Has Laura Jane Grace found Total Clarity?”
A Critical Analysis of the Performance Practice,
the Originality and the Development of Davy Dillinger.
A Research Paper for QUT Creative Performer
Upon being accepted to the Queensland University of Technology, I was a competent cellist accompanied by awards in theatre with a vision of learning to adopt production technology to my own performances. Coincidently to the first weeks of semester, I was employed into a live music venue where local musicians and internationally renowned stars are both able to grace the stage, in turn, empowering me to strive to become a dynamic performing artist. For better or worse, these musical acts were all influential in how I wish to perform. As a creative performer and student of a tertiary institution, I am able to provide context to what I perform and understand the origins of what I choose portray and amplify on stage. For my end of year showcase, I will be presenting an act under the guise of Davy Dillinger, a conceptual punk rock group performing original works of my own composition. In this paper, I will discuss, intellectualize and analyse the notions of anthropologic theory and philosophy within my own creative practice. The paper will then deconstruct my performance approaches by utilizing methods within performance philosophies to then be supported by academic evidence and examples of creative artists that embody or portray these specific methods. The focus will be upon the Anthropology of Performance while also drawing on academia from Theories of the Body and Body Language. In addition to the supported inquiring analysis of my creativity, will be a discussion of my own personal development as a creative performer and how these theories are both influential and coincidently immersed into my practice. Continue reading “An Anthropologic Perspective on Creative Practice”
Creativity vs Virtuosity
In today’s modern age of the Internet and instantaneous media updates, it is possible for anybody to achieve their Andy Warhol dream of having 15 minutes of fame. This also means there is higher percentage of competition to vie for the general public’s attention. For musicians, this presents a new challenge. An artist does not have to be of virtuosic talent to conquer, captivate and hold an audience; a thriving performing artist must be able to compellingly portray their stagecraft, creativity and talents in the live arena to convert, engage and inspire a crowd. Amanda Palmer is an example of such a performing artist that has created a rapport with her admiring audience through her work with the Dresden Dolls and her own solo efforts. This essay will detail methods and techniques that Palmer initiates to charm and captivate crowds worldwide to argue that it is not a necessity to be of virtuosic skill to be engaging. The three engagement approaches of Amanda Palmer’s that are being analysed within this essay are her presentation in performance; her efforts to collaborate with fellow performance artists and the interactivity she shares with her appreciative audience.
An Academic Analysis about Washington, DC’s Fugazi
by Robert Knaggs
Queensland University of Technology.
The music and accompanying culture of the 80s left alternative scenes at a confusing crosspoint. The self-depreciative ideals of ’77 punk started to intensify both musically and in their recreations while heavy metal turned to androgyny, misogyny and glamour; with their best efforts of remaining the epitome of masculinity; consequently becoming the preferred soundtrack to shopping malls and radio stations. The former displayed their own affiliations with unconscious homoeroticism and the latter became so accessible that the parents of the generation’s youth identified with the cock-rock show bands (denizcola7, 2011). This exertion of testosterone-fuelled aggression emasculated and alienated a generation into a standpoint; what’s the alternative?