The Creative Regions Lab aims to redefine creative activity in regional Australia to create regional futures. We are a teaching and research hub that drives the development of creative enterprises and activities in regional Australia.
Our core function is to conduct research, identify themes, invent industries, direct, coordinate,respond, and promote all projects nationally and internationally.
We operate through projects that combine the culture of regional creativity and innovation with the invention of new productivity possibilities.
Margaret Woodward & Craig Bremner have a book chapter in the book Creative Communities: Regional Inclusion and the Arts, edited by Janet McDonald and Robert Mason.
Members of the public are once again invited to sit for a portrait by recent Archibald Prize Finalist Tony Curran – but this time there's a catch. Curran is asking people to pose for a portrait in the company of a complete stranger.
The Land Dialogues Conference will take place on the 13th, 14th and 15th of April 2016 at Charles Sturt University on its Wagga Wagga Campus.
CSU academic, Dr Damian Candusso, was part of the team that won an Oscar this week for sound design on Mad Max: Fury Road.
A research grant funded by the Grape and Wine Research Development Corporation (GWRDC) into the field of wine tourism. Part of this research investigates regional brand perception images of 15 wine regions in 6 states in Australia. It aims to identify the key brand elements of successful regions plus some flow-on effects such as regional employment. Stakeholders (direct and indirect) are wine companies around Australia, wine industry peak bodies, i.e. Wine Australia and Winemakers Federation of Australia, tourism bodies, i.e. Tourism Australia, state and regional tourism associations, etc.
Project author: Johan Bruwer and Anthony Saliba
I examine design conventions used in Theatre for the Very Young (TVY) in order to engage its non-normative audiences. Are the needs of babies and toddlers, as well as their adult carers, served by conventional theatre design characteristics? TVY reorders the starting point of the theatre design process by working to create interactive and multi-sensory experiences with the aim being enjoyment, rather than presenting a scripted narrative that has the aim to educate. I anticipate that the differently oriented aims and experimental nature of TVY calls for innovative change when considering the pre-production issues of theatrical design. This research will take the form of participant observation to implement a deeply reflexive approach to my practice, based on multiple case studies that include Australian and international exemplars in this field.
The aim of my research is to test specific design conventions that might enhance Theatre for the VeryYoung by studying other's work as well as my own. I wish to investigate the character of design issues that are unique to TVY and how these might best be addressed during the pre-production phase of the design process. The typical driver of design considerations in traditional theatre is narrative, with the design availing itself of the audience's aural and visual senses only. The unique audience of TVY, as a mix of the very young and their carers, calls for something quite different from the designer; something that enhances performance without necessarily having a story to tell or a specific meaning (or learning objective) to convey. The design imperative of TVY is that it needs to captivate more than just the eyes and ears of the audience, but that it taps into the very young's other senses, such as tactile and olfactory responses as well.
Project author: Sophie Kurylowicz