Practising Emotions: PlacE and thE Public sPhErE Emotions: PlacE and thE Public sPhErE ......

program

Practising Emotions: PlacE and thE Public sPhErECollaboratoryProgram

Presented byTheARCCentreofExcellencefortheHistoryofEmotions

Hosted by TheUniversityofMelbourneNode

OrganisersJaneDavidsonandLisaBeaven

Venue WyselaskieAuditorium,CentreforTheology&Ministry,29CollegeCrescent,Parkville

Studio1,AustralianCentrefortheMovingImage(ACMI),FederationSquare

6 – 8 August 2015

Practising Emotions: Place and the Public Sphere collaboratory

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ScHeduledATe: 6–8 August 2015VeNue: Wyselaskie Auditorium centre for Theology & Ministry & Studio1, Australian centre for the Moving Image (AcMI)

THurSdAy 6 AuguST 2015 - WySelASkIe AudITOrIuM11.00 – 11.30 regISTrATION

11.30 – 12.00 Traditional Welcome: Richard Frankland, Wilin Centre for Indigenous Arts and Cultural Development, University of Melbourne

12.00 – 12.15 Introduction

12.30 – 1.00 keynote 1 (Chaired by Charles Zika)

Anthony Bale, Birkbeck, University of London “Sighs & Groans: Emotion and Authenticity at the Prison of Christ.”

1.00 – 2.00 luNcH

2.00 – 3.20 Sorrow (Chaired by Graeme Boone)

2.00 – 2.20 Alan Maddox, University of Sydney “The Emotional Reception of J.S. Bach’s St Matthew Passion.”

2.20 – 2.40 Lisa Beaven, University of Melbourne “Playing Dead: Practising how to Die Well in Seventeenth-century Italy.”

2.40 – 3.00 Frederic Kiernan, University of Melbourne “‘Gruesomely splendid’: Zelenka’s Requiem (ZWV 46) of 1733 and the Politics of Catholic Grief and Mourning in Lutheran Saxony.”

3.00 – 3.20 Michael Halliwell, University of Sydney “‘That Bloody Game’: Australian World War I Songs.”

3.20 – 3.40 TeA BreAk

3.40 – 5.00 Pleasure (Chaired by Anthony Bale)

3.40 – 4.00 Sarah Randles, Independent researcher “Out of the Ashes: Emotional Transformation and Performance in Medieval Chartres.”

4.00 – 4.20 Sing D’Arcy, University of New South Wales “Transfiguring the City: The Performance of Celebration in 17th-century Seville as seen through the Relaciones of Fernando de la Torre Farfán.”

4.20 – 4.40 Katie Barclay, University of Adelaide “Laughter in the Irish Court in the Early Nineteenth Century.”

4.40 – 5.00 Katrina Grant, Independent researcher “The Performance of Pleasure in the Italian Baroque Garden.”

PAuSe

5.05 – 5.50 keynote 2 (Chaired by Andrew Lynch)

Gillian Russell, University of Melbourne “The Public Sphere of the Skies: Balloonmania 1784–1814.”


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FrIdAy 7 AuguST 2015 - WySelASkIe AudITOrIuM10.00 – 11.20 communities (Chaired by Alan Maddox)

10.00 – 10.20 Jason Stoessel, University of New England “Civic Pride, Community and Friendship: Representations of Emotional Spaces in the Music and Oratory of Johannes Ciconia’s Padua.”

10.20 – 10.40 Helen English, University of Newcastle “Music and Emotion across the Landscape: Brass Bands at a Newcastle Miners’ Demonstration in 1874.”

10.40 – 11.00 Fiona Fraser, Australian National University “‘Fiery’ and ‘Aggressive’ Piano Playing and the Refinement of Musical Taste in Early Twentieth Century Sydney.”

11.00 – 11.20 Aleisha Ward, Independent researcher “Jazzy Nerves and Jazzed Emotions: The New Zealand Jazz Age.”

11.20 – 11.40 cOFFee BreAk

11.40 – 1.00 Aftermaths (Chaired by Katie Barclay)

11.40 – 12.00 David Marshall, University of Melbourne “Practising the Emotions of Marriage: the Case of Ottavia Patrizi.”

12.00 – 12.20 Philippa Barr, University of Sydney, Cancer Council NSW: “Sydney 1900: Performance of Disgust in the Context of an Epidemic.”

12.20 – 12.40 Kathryn Prince, University of Ottawa “Emotional Geography, Indigenous Land Rights, and the Instrumentality of Shakespeare.”

12.40 – 1.00 Linda Kouvaras, University of Melbourne “The Restoration of Empathy: A Sound Artwork in Dialogue with Parliament House.”

1.00 – 2.00 luNcH

2.00 – 3.20 At the limits (Chaired by Gillian Russell)

2.00 – 2.20 Helen Hickey, University of Melbourne “Walk this Way: Two Journeys to Jerusalem in the Fifteenth Century.”

2.20 – 2.40 Jenny Spinks, University of Manchester “Bacchus and the Juggernaut: Indian Religious Processions and Early Modern European Emotional Responses.”

2.40 – 3.00 Grace Moore, University of Melbourne “Staging Dickens’s Emotions: Performing The Frozen Deep.”

3.00 – 3.20 Fiona McAndrew, University of Melbourne “Re-iterating the Feminine: The Social and Emotional Politics of Space and Performance in an Original Production of Milhaud’s Opera, Médée.”

3.20 – 3.40 TeA BreAk

3.40 – 5.00 enactments (Chaired by Grace Moore)

3.40 – 4.00 Siobhan Hodge, University of Western Australia “Transformative Emotions: Place in Performance of Sappho.”

4.00 – 4.20 Penelope Woods, University of Western Australia “‘A noyse within’: The Early Modern Tiring House and the Invention of a New Early Modern Space of Emotion.”

4.20 – 4.40 Robert Wellington, Australian National University “Coded Passions: Public Displays of Emotion at the Court of Louis XIV.”

4.40 – 5.00 Robert Phiddian, Flinders University “Spectacular Opposition: Suppression, Deflection and the Performance of Contempt in John Gay’s Beggar’s Opera and Polly.”

PAuSe

5.05 – 5.50 keynote 3 (Chaired by Jane Davidson)

Sven-Oliver Müller, Max Planck Institute, Berlin “Felt Communities? The Behaviour of Concert Audiences in the Metropolis of the Nineteenth and Twentieth Centuries.”


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PAuSe

6.20 – 7.30 Music Performance

Stephen Grant and e21, University of Melbourne “Musical Exequies and the Seven Last Words”

SATurdAy 8 AuguST 2015 - STudIO 1, AcMI, FederATION SquAre10.00 – 10.45 keynote 4 (Chaired by Linda Kouvaras)

Graeme Boone, Ohio State University “The Grateful Dead, the Mixolydian Turn, and Ethotic Renewal in the Psychedelic 60s.”

10.45 – 11.00 cOFFee BreAk

11.00 – 1.00 Acting Out (Chaired by Lisa Beaven)

11.00 – 11.20 Angela Ndalianis, University of Melbourne “The Dark Knight and Transmedia Storytelling: Taking it to the Streets.”

11.20 – 11.40 Ben Gook, University of Melbourne “Ecstasy and the (Counter) Public Sphere: Germany, 1989–1990.”

11.40 – 12.00 Sean Redmond, Deakin University “In the Event: An Unruly Life Lived through David Bowie.”

12.00 – 12.20 Jane Davidson, University of Melbourne “Robbie’s the One: Creating Spaces for Public Passion and Private Persuasion.”

12.20 – 1.00 clOSINg dIScuSSION

Thursday 6 August Wyselaskie Auditorium

11:00–11:30 registration

11:30–12:00 traditional Welcome

RichaRd FRankland, diRectoR oF the Wilin centRe, VictoRian college oF the aRts, UniVeRsity oF MelboURne

RichardJ.Franklandisahighlyexperiencedsinger/songwriter,author,poetandfilmmaker.AGunditijmaraman,hehasworkedasasolider,afishermanandwasafieldofficerduringtheRoyalCommissionintoAboriginalDeathsinCustody.Hehaswritten,directedandperformedmanymusicproductions,playsandoverfiftyvideo,documentaryandfilmprojects,includingtheawardwinningNowaytoForget,AfterMabo,Harry’sWarandTheConvincingGrounddocumentary.Hehaswrittenonculturalsafetyandfacilitatedworkshopsonlateralviolenceandculturalawareness.HeiscurrentlyDirectoroftheWilinCentreintheFacultyofVCA&MCM.

12:00-12:15 introduction

Session 1: Keynote

12:15–13:00 anthony bale birkbeck, university of london

sighs and gRoans: eMotion and aUthenticity at the PRison oF chRist

Thispaperwillexplorepilgrims’interactionswithasmall,largelyforgottenchapelattheChurchoftheHolySepulchre,Jerusalem.Thischapel,calledthePrisonofChrist,offersafascinatingandvaluablecasestudyinourattemptstoconsiderpilgrims’emotionalengagement,theculturalimperativesofpilgrimagesites,andissuesaroundimitationandpersonalengagementonthepilgrimageroute.Iwillstartbygivingabriefhistoryofthesite,andthenconsidersomeindividualpilgrims’responses,beforemovingontoconsiderwhatthePrisonofChristdidforitsmedievalaudiencesandusers.

Anthony BaleisProfessorofMedievalStudiesatBirkbeckCollegeintheUniversityofLondon.HeisworkingonthelatemedievalEnglishexperienceoftheHolyLand,andiscurrentlyaDistinguishedInternationalVisitingFellowattheCentrefortheHistoryofEmotions.

Session 2: Sorrow

2:00–2:20 alan maddox, university of sydney

the eMotional RecePtion oF J.s. bach’s st MattheW Passion

J.SBach’sStMatthewPassioniswidelyunderstoodbycommentators,andexperiencedbyperformersandlisteners,asemotionallypowerful,affectivemusic.DealingasitdoeswiththeChrist’ssufferinganddeath,itmaybeunderstoodasawayofcommunallyexternalisingthesharedexperienceofpainandgriefembodiedinthenarrative,byrituallyenactingitinthepublicforumofachurchservice.YetsinceitwasfirstperformedatEasterin1727,ithasrarelybeenheardinthekindofliturgicalsettingforwhichitwascomposed,insteadbeingtranslatedtootherkindsofpublicspacesincludingconcerthallsandtheatres,andintotheambivalentlypublic/privatevirtualspacesofrecordingsandtheinternet.ThispaperexplorestheemotionalreceptionoftheStMatthewPassionthroughaseriesofcasestudiesacrossadiverserangeofthesephysicalandvirtualspaces,spanningthealmostthreecenturiesfromitsfirstperformancetothepresent.TheseincludeBach’soriginalliturgicalperformancesin18th-centuryLeipzig,theconcertperformancesdirectedbyFelixMendelssohnin1829and1841,thefirstSydneycolonialperformanceofthePassionin1880,andvariousmoderntransformations,includingasballet,semi-stagedopera,indiversetranslationsandre-scorings,andinonlinetransmissionthroughsocialmedia.ThroughtheseexamplesIconsiderhowthetypesofpublicspacesandgeographicallocationsinwhichthepiecehasbeenheardhaveaffecteditsemotionalreception.

Alan MaddoxisSeniorLecturerinMusicologyattheSydneyConservatoriumofMusic,UniversityofSydney,whereheteachesEarlyModernmusichistoryandcoordinatestheundergraduateMusicologyprogram.Withabackgroundasaprofessionalsinger,hismainresearchinterestsareinearlymodernItalianvocalmusic,andAustraliancolonialmusic,aswellasintheintersectionsbetweenmusicandthehistoryofemotionsandmusicinintellectualhistory.Recentpublicationsincludeaseriesofarticlesonrhetoricin18th-centuryItalianvocalmusic,andastudyoftheroleofmusicinprisonreforminthe19th-centurypenalcolonyonNorfolkIsland.HeisanAssociateInvestigatorwiththeARCCentreofExcellencefortheHistoryofEmotions,amemberoftheNationalCommitteeoftheMusicologicalSocietyofAustralia,andconsultantmusicologisttotheAustralianBrandenburgOrchestra.

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2:20–2:40 lisa beaven, university of melbourne

Playing dead: PRactising hoW to die Well in seVenteenth-centURy italy

TheconceptofpreparingfordeathwaswidelydisseminatedthroughEuropeinthelatefifteenthcenturythroughtheArsMoriendi(theArtofDying)—whichessentiallyfunctionedasaninstructionmanualonhowtodiewell—andbymeansofSavonarola’sfamoussermonpreachedinFlorenceonAllSouls’Dayin1496,laterpublishedasPredicadell’artedelbenemorire.Theseventeenthcenturywitnessedarevivalofinterestinthetheme,asaresultofIgnatiusofLoyola’sSpiritualExercisesandRobertoBellarmino’sDeArtebenemoriendi(1620).Between1620and1700theJesuitsauthored101differentpublicationsonthistheme.OneofthedirectoutcomesofBellarmine’streatisewastheestablishmentoftheConfraternityoftheBonaMorsattheGesùinRomein1648.Unlikeotherconfraternitiesdedicatedtodeath,suchastheArciconfraternitàdiS.Mariadell’OrazioneeMorte,thiswasnotfocusedoncollectingandburyingdeadbodies,butratheroncreatingaprogramofexercisesandprayersthatwouldensureitsmemberswouldbewellpreparedfordeath,andsocould,undertherightcircumstances,dieagooddeath.MembersoftheconfraternityattendedthespiritualexercisesoftheBuonaMorteonFridaysandFeastdaysattheGesùunderthedirectionofGiovanniAntonioCaprini,afamouspreacher.

ThispaperexplorestheexistentialchallengesofdyinginseventeenthcenturyItaly,andthestrategiesandpracticessuchpublicationsandconfraternitiesprovidedforcontrollingtheemotionsassociatedwithit.Itconcentratesonthedisciplineofthemementomori,theobjectsthatfunctionedasconstantremindersofthetransienceandmutabilityoflife,andarguesthatinthehandsofthesculptorGianLorenzoBerninithesevisualstrategiesfunctionedasthethree-dimensionalequivalentofBellarmine’streatise.Berniniwasalong-standingmemberoftheconfraternityoftheBonaMorsattheGesù,andwasfascinatedbydeath.Hisoftenlife-sizereanimatedskeletonsdecoratingtombsandfuneralschemesinRomanchurchesoccupiedanimaginaryliminalspacebetweenlifeanddeath,evokingdeathwhilemimickinglife.Iwillarguethatsuchfigures,whilefearfultocontemporaryeyes,functionedtoalleviatethefearofdeathforseventeenthcenturyaudiences,throughrepeatedexposuretoitsreality.

lisa Beaven isapost-doctoralfellowintheCentreforExcellenceintheHistoryofEmotionsattheUniversityofMelbourne.HerbookAnArdentPatron:CardinalCamilloMassimoandhisartisticandantiquariancircle:ClaudeLorrain,NicolasPoussinandDiegoVelazquezwaspublishedbyPaulHolbertonPress,London,andCEEH,Madridin2010.WithProfessorAngelaNdalianissheholdsanARCdiscoverygrant,‘ExperiencingSpace:SensoryEncountersfromBaroqueRometoNeo-baroqueLasVegas’.

2:40–3:00 Frederic Kiernan university of melbourne

‘gRUesoMely sPlendid’: Zelenka’s ReqUieM (ZWV 46) oF 1733 and the Politics oF catholic gRieF and MoURning in lUtheRan saxony

In1697,theElectorofSaxonyFriedrichAugustIconvertedfromLutheranismtoCatholicisminordertopursuethePolishthrone,whichheattained,rulingasKingofPolandunderthenameAugustII(“theStrong”).Thisstrategicchangeofconfession—arejectionofthemostdeeplyheldvaluesandbeliefsofthelocalLutherans—wasmetwithutterdisbelief,andresultedinreligioustensionsthatsometimeseruptedinhorrificviolence.Italsoallowedpoliticallyandfinanciallyadvantageousalliancestobeformed,whichusheredthecityofDresden,astheSaxonElectoralandRoyalPolishseat,intoaneweraofartisticandmusicalexcellenceextendingwellintotheeighteenthcentury.Dresdenthusbecamealocusofheatedideologicalantagonism,andexpressionsofCatholicsentimentinthiscontextoftenbetrayeddistinctlypoliticalundertones.Followingtheking’sdeathon1February1733,BohemianmusicianJanDismasZelenka(1679–1745),bythenwellestablishedasoneofthecourt’smostseniorcomposers,preparedingreathasteaRequiemsetting(ZWV46)forperformanceduringtheroyalexequiesinDresden.Theproceedingsofthisritualaredescribedwithevocativedetailinthesources,andprovideinsightintothenuancedCatholicexpressionofgriefandmourninginthisotherwiseentirelyLutheranlandscape.ThispaperwillinvestigatetheroleofZelenka’sRequiemintheroyalexequiesof1733fromanemotionologicalperspective,andspeculateaboutthedevelopmentofthismodeofemotionalexpressionbasedontheexistenceofadditionalperformancematerialspreparedforuseinthelate-eighteenthandnineteenthcenturies.

Frederic kiernanisafirst-yearPhD(musicology)candidate,researchassistantandtutorattheMelbourneConservatoriumofMusic,UniversityofMelbourne.Hisundergraduatestudieswereinartsandclassicalpiano,andapublicationofhisadaptedMMusthesis(acriticaleditionandcontextualanalysisofsixAvereginacoelorumsettingsbyJanDismasZelenka,1679–¬1745)isforthcomingwithAREditions(Wisconsin).HisPhDresearchinvestigatesthereceptionofZelenka’ssacredmusicinEurope’sGerman-speakingregionsduringthenineteenthcentury,andheistherecipientofseveralawardsandscholarships,includingtheOrmondExhibition,JohnHodgsonScholarship,andanAustralianPostgraduateAward.Hehasalsorecentlycompletedasix-monthEndeavourResearchFellowshipatMartinLutherUniversity,Halle-Wittenberg(2015).

3:00–3:20 michael halliwell, university of sydney

‘that bloody gaMe’: aUstRalian WoRld WaR i songs

Therearenearly500AustraliansongscomposedduringWorldWarIintheNationalLibraryofAustralia.War-timeisaperiodofheightenedemotions,andthispresentationexaminesthewayanappealtotheemotions—evenemotionalmanipulation—isrevealedinmanyofthesesongs.Whatmusicalandlinguisticstrategieswereemployedbycomposersandlyriciststotriggeranemotionalreactioninanaudience?Howdidthesongsreflectthe‘reality’ofthewar;didthey‘sanitise’theactualeventstomakethemmorepalatabletothepublic?Howdidtheyappealtotheemotionsboundupwithaburgeoningsenseofnationalidentity?Thesongcoverswillalsobeanalysed,astheyoftenrevealmuchabouttheintentbehindaparticularsong.

Thesearenotsoldiersongs,butcompositionswhichdepicttheinvolvementofmanyAustraliansinthewar.Theyarisefromtwomainmusicaltraditions,theparloursongandthemusichall,andrevealaperceptionofthewaroftencompletelyoutoftouchwiththerealityofthefront.Thesubjectmatterincludesrecruitment,anti-conscriptionandalongingforpeace,aswellasconveyingthepathosandtragedyofwar.Manyareaddressedtoandfromthewives,mothers,sisters,girlfriendsandchildrenofthemenatthefront.Theperformancecontextvaried;mostweremeanttobesungaroundthepianoathome,inmoreformalconcerts,andinvirtuallyanysettingwherepeoplewouldgather.Theywerealsoasourceofpropagandaforthegovernmentandotherorganisations.Theywerewrittenwithamateurmusiciansinmind,andhadrelativelysimplemelodiesthatonecouldlatchontoquickly.Mostarestrophic,withtwoormoreversesandachorus,predominantlyinamajorkey.Theversetellsthe‘story’,whilethechorusistheheartofthesong,withoftenstrongsentimentsunderpinnedbyasuitablemelodyforaudienceparticipation.

Theinvestigationisdividedintofivesections,roughlyequivalenttothefivestagesofthewar:“Recuitment”,“Gallipoli”,“France”,“theHomeFront”,and“BackHome”.Withineachsectionareseveralsongswhichshowvariedmusicalresponsestoaparticulartheme.

Michael Halliwell studiedmusicandliteratureattheUniversityoftheWitwatersrandinJohannesburg,attheLondonOperaCentreandwithTitoGobbiinFlorence.HewasprincipalbaritonewiththeNetherlandsOpera,theNürnbergMunicipalOpera,andtheHamburgStateOperaandhassungoverfiftymajoroperaticroleswithfrequentappearancesatmajorEuropeanfestivalsinopera,oratorioandsongrecitals.Hehaspublishedwidelyinthefieldofmusicandliterature,includingOperaandtheNovel(RodopiPress,Amsterdam/NewYork,2015)andMythsofNationalIdentityinContemporaryAustralianOpera[forthcoming](Ashgate,2015/6).HehasservedasChairofVocalStudiesandOpera;Pro-DeanandHeadofSchool;andAssociateDean(Research)attheSydneyConservatorium.RecentCDsinclude:WhentheEmpireCalls(ABCClassics,2005);OforaMuseofFire:AustralianShakespeareSettings(VoxAustralis,2013);and,AmyWoodforde-Finden:TheOrientalSong-Cycles(ToccataClassics,2014).

Session 3: Pleasure

3:40–4:00 sarah randles, independent researcher

oUt oF the ashes: eMotional tRansFoRMation and PeRFoRMance in MedieVal chaRtRes

IntheLivredesMiraclesdeNotre-DamedeChartres,writtenintheearly12thcentury,JeanleMarchantgivesanaccountofthecatastrophicfirewhichalmostentirelydestroyedtheCathedralofChartresonFriday10June,1194,whichhadonlybeenrebuiltaboutfiftyyearspreviously.ThemiraclestorydescribesthedevastationfeltnotonlybytheCathedral’sclergy,butalsobythepeopleofChartres,callingita‘citywhichhadlostitsdignity’.Thelossofthecathedralitselfwasmagnifiedbythepresumedlossofitsprincipalrelic,thesaintchemise,anundergarmentbelievedtohavebeenwornbytheVirginMaryatthebirthofChrist,andwhichhadpreviouslysavedthecityfromattack.Withoutit,themiracletaleasserted,thecityhad‘lostitsdignity’.Butthemourningturnedtojoyas,onSunday,thethirdday,severalmembersofthecathedralclergyemergedfromthecrypt,wheretheyhadbeenprotectedfromthefireandmiraculouslysustainedwithoutfoodordrink,withthechemiseintactinitsreliquary.

ThispaperwillconsidertheemotionaleffectsofthelossoftheCathedralbuildingonthepeopleofChartres,andthewaythemiraclefacilitatedadisplacementofthefocusoftheemotionsfromtheCathedraltothesaintechemise,sothatthepositiveemotionalreframingofthedisasterbecameacatalystfortherebuildingoftheCathedralinitscurrentform.Itwillalsoconsidertherolethephysicalityofthecathedralhasintheperformanceofthemiracleinspaceandliturgicaltime,andthewaysinwhichthisstoryhasbeencraftedtoproduceemotionalandpracticalresponsesinitsreaders.

Sarah randlesisanHonoraryFellowintheSchoolofHistoricalandPhilosophicalStudiesattheUniversityofMelbourne.ShehasrecentlycompletedaPostdoctoralResearchFellowshipattheAustralianResearchCouncilCentreofExcellencefortheHistoryofEmotions,1100–1800.Shehasaparticularinterestintherelationshipbetweenobjectsandemotionsandhercurrentresearchprojectexplorestheemotionsofpilgrimageandsacredplace,focusingontherelicsandotheraspectsofmaterialcultureofChartresCathedral.


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4:00–4:20 sing d’arcy university of new south Wales

tRansFigURing the city: the PeRFoRMance oF celebRation in 17th-centURy seVille as seen thRoUgh the Relaciones oF FeRnando de la toRRe FaRFán

TheseventeenthcenturywasoneofmixedfortunesforthegreatEuropeanportcityofSeville.Followingonfromthehalcyondaysofthe1500stheeconomicturbulenceanddevastatingoutbreaksofpestilencethatmarkedthe1600sshooktheconfidenceofthecityanditspeople.Despitethesesetbackstherewasstillcausetocelebratemajoreventssuchascoronations,victoriesandothersignificantoccurrencesaboveandbeyondthenumerousliturgicalfeastdaysthatpunctuatedtheyear.Inthesecondhalfofthe17thcenturythreefestivitieslinkedtoSevilleCathedral—theinaugurationoftheChurchoftheSagrarioin1662;theinaugurationoftheChurchofSantaMaríalaBlancain1665;andin1671,thecanonisationofSaintFerdinandIII—werecelebratedwiththegreatestpompandsolemnity,particularlythoseof1671.Thesefestivitieswererecordedinminutedetailinthreedescriptivetexts,or‘relaciones’,bythecathedralcanon,chroniclerandpoetFernandodelaTorreFarfán(1609-77).

IntheseworksTorreFarfándocumentsthroughwordsandimagesthetransfigurationthatthecathedral,thecityanditschurchesunderwentforthesecelebrations.Theserelacionesprovideaninvaluablesourceinunderstandinghowthecitywas‘performed’andsimultaneouslyperformedin.Thethreerelacionesalsorecordthesentimentsandemotionsexpressedbythecommissioningbodies,theartistsandcraftspeople,aswellasthecitizenry,providinginsightintotherolethatemotionsplayedatthedifferentstagesofacelebration,fromanticipationandanxiousnessinpreparation,totransportedrapturesduringtheevents,andnostalgiaandmelancholyafterwards.

ThroughthedocumentationprovidedinTorreFarfán’srelacionesthispresentationwillanalysethemannerinwhichthecitywastransfiguredfromaprofanespacededicatedtoquotidiancommerceandactivity,toaclericalisedoneforsacredcelebrations.Architecturalephemerae,auditoryinterventions,processions,illuminations,danceotherandotherludicactivitieswerealldeployedtocontrastandexaggeratethissuddenandliminaltransformation.EmotionalreactionrecordedinthetextswillbelinkedtotheseparticulareventsinordertodemonstratehowtheexpressionofemotionswaspracticedwithinthepublicsphereofcelebrationinearlymodernSpain.

Sing d’Arcy studiedarchitectureattheUniversityofSydney,returningtheretocompletehisdoctoralstudiesinarchitecturalhistory.Inadditiontoarchitecture,hehashadalonginterestinearlymusicperformancehavingheldnumerousorganistpositionshereinSydneyaswellasinSeville,Spain.SingiscurrentlyaseniorlecturerinInteriorArchitectureatUNSW.HewasanassociateinvestigatorwiththeCHEthatresultedinakeynoteaddressandworkshopatthe2013CuencaCathedralOrganAcademy,Spain,andaforthcomingbookchapter.In2009hewasavisitingscholarattheUniversityofSeville,ArtHistoryDepartment.Hisresearchfocusesonthenexusbetweenarchitectureandmusic,inparticulartheroleofthepipeorganinarchitecturalspace.Hehaspublishedwidelyonthehistoriographyofearly-modernSpanishecclesiasticalarchitectureaswellasregularlypublishingoncontemporaryAustralianinteriordesign.SingsitsontheeditorialcommitteeforthejournaloftheInteriorDesign/InteriorArchitectureEducationAssociation

4:20–4:40 Katie barclay university of adelaide

laUghteR in the iRish coURt in the eaRly nineteenth centURy

ReportsoftheIrishcourtroomintheearlynineteenthcentury,liketheBritish,oftennotethelaughterofthecourtgalleryinresponsestowitnessesonthestandortojokesorcommentarymadebyjudgesandlawyers.Attimes,laughterappearsincontextsthatarequiteconfrontingtoamodernreader,suchasduringthetestimonyofarapevictimortoothervulnerablewitnesses.Yet,whypeoplearelaughingincourt,andmoreimportantly,whatlaughterdoestoshapecourtroompowerdynamicshasbeenlittleexplored.Thispaperdrawsonperformancetheory,andparticularlytheideathatthecourtisaperformativespace,constructedthroughtheinteractionbetweenbodies,theirbehaviours,architectureandthediscursivecontextofthelaw,toanalysewhatdifferencelaughtermadeinshapingpowerrelationshipswithinthecourtroom.Itexploresbothtraditionalunderstandingsoflaughterasregulatoryanditsroleindefiningtheboundariesofnormativebehaviour,butgoesfurthertothinkofitasatoolinnegotiationsofpower.Inthisitemphasisestheimportanceofunderstandingthecourtasa‘space’wherepowerisfluidandnegotiated,ratherthanimposedfromabove,andtheperformanceofactorswithinaskeytointerpretingtheformationofjustice.Thiscouldthenbeaclaimtotheimportanceofemotioninshapingpowerinthecourt(andindeedemotioniscentraltopowerdynamicsinthecourtasIsuggestelsewhere),butlaughterraisesinterestingquestionsasitisnotalwaysclearwhatemotionlaughtersignifies,ifindeeditisanemotionalresponseatall.Thereforethispapernotonlyspeakstoourunderstandingofpowerdynamicsinthespaceofthecourt,butourunderstandingofwhatlaughterisanditsemotional(orother)qualities.

katie BarclayisaDECRAFellowintheARCCentrefortheHistoryofEmotions,UniversityofAdelaide.ShecompletedherPhDinEconomicandSocialHistoryattheUniversityofGlasgowin2007,andspecialisesinemotionandgenderhistory,primarilyofBritainandIrelandacrosstheseventeenthtonineteenthcenturies.Barclayistheauthorofthedouble-awardwinning,Love,IntimacyandPower:MarriageandPatriarchyinScotland,1650–1850(Manchester,2011),andnumerousarticlesonemotions,genderandfamilylife.Thisworkemergesfromherforthcomingmonograph,MenonTrial:Emotion,EmbodimentandIdentityinIreland,1800–1845.

4:40–5:00 Katrina grant, independent researcher

the PeRFoRMance oF PleasURe in the italian baRoqUe gaRden

‘Heretearshavenoplacebutlaughterrules;heretheCourt’sthunderdoesnotsound.’Thesewordsareinscribedinstoneintheseventeenth-centurygardenoftheVillaBarbarigoatValsanzibio.Theysuggesttothereaderthattheirvisitwillbeoneofpleasureandretreatfromthedemandsoflifeatcourt.Inreality,wastheexperienceoftheBaroquegardenatruepleasureorwastheexpressionofthispleasureanotheractofcourtlybehaviour?Howdoestheideaofthegardenasaplaceofretreatfitwiththerealitythatthegarden,likeotherspacesintheBaroqueperiod,wasconceptualisedasastagewhereoneperformedone’spublicidentity?Thisideaofbeing‘onshow’doesnotnecessarilyringtruewithourmodernidealofretreatingintonature,butwereBaroquevisitorstroubledbythistension?

ThispaperwilllookattheperformanceanddepictionofemotioninItalianBaroquegardensandwilllookinparticularattheevidencewehavefortheseemotions.WhatotheremotionsbeyondpleasureandhappinessareinvokedinwrittenaccountsorvisualdepictionsofgardenexperienceduringtheBaroque.Dotheaccountswrittenbyvisitorsdifferfromthosebyowners?HowdidtheauthorsandartistsofthesedepictionsoftheBaroquegardenmediatebetweentherealityandtheidealofgardenexperiencefortheirprospectiveaudiences?

katrina grant,PhD,istheeditoroftheMelbourneArtNetworkandafoundingeditoroftheonlinearthistoryjournalemaj.ShehaspublishedonthehistoryofgardenstheatresinItalyandonartisticrelationsbetweenRomeandBritainintheeighteenthcentury.HerresearchinterestsincludetheconnectionbetweengardensandtheatreintheBaroqueperiodandthehistoryofstagesetdesign.

Session 4: Keynote

5:05–5:50 gillian russell, university of melbourne

the PUblic sPheRe oF the skies: balloonMania 1784–1814

AccordingtoJürgenHabermas’sclassicanalysis,eighteenth-centuryBritainplayedadistinctiveroleinthetransformationofthepublicspherethroughthedevelopmentofspacesforrationaldebateinwhich‘private’individualscouldconstitutethemselvesasamoretransparentpublicinoppositiontotheopaquepublicofthecourt.ThisHabermasianpublicsphere,aswellasbeingdominatedbymen,primarilyoccursindoorsinspacessuchasthecoffeehouseandthetavern.Itsmainorgansofpublicityinnewspapers,pamphletsandnovels,alsotypicallybelongindoors,readbyindividualsorinsmallgroups,andheldcloseathand,liketheelectroniccommunicationdevicesoftoday.Itisnotoften

acknowledged,however,thatHabermasalsoincludedwithinthepublicspheretheimportanceofwhathecallsthe‘town’or‘marketofcultureproducts’,spacessuchasthetheatreandinparticular,newvenuesfor(heterosocial)sociabilitysuchastheassemblyroom(asinRotundaofRanelagh,featuredintheposterforthiscollaboratory)andthepleasuregarden.Combiningvenuesforbothindoorandoutdoorentertaining,pleasuregardencomplexessuchasVauxhallandRanelaghandleisuretownssuchasBathandGeorgianDublinenabledtheexplorationofthedynamicsofindoorandoutdoorspaceineighteenth-centuryculture.Theworld‘outofdoors’wasassociatedwithamoresociallydiversepublic,oftenlinkedwiththeconceptofthe‘People’,ofwhichparliamentwasthevirtualrepresentation.Thispublicoutofdoorsvariedfromthequotidian,casualinteractionbetweenservants,messengers,hawkersandthemiddleandupperclassladiesandgentlemenwhothefrequentedcoffeehousesandpleasuregardens,totheactivated,self-conscious‘crowd’or‘mobility’,suchasthatwhichranriotintheGordonRiotsof1780.

ThedistinctionbetweenindoorsandoutdoorswasthereforeaverymeaningfuloneinGeorgianculture.Itssignificanceisapparent,forexample,inthecustomofillumination,wherebycandlesandinsomecases,elaborateilluminateddisplaysknownastransparencies,wereplacedinwindowsoroutsidebuildingstocommemoratepoliticaleventsandwartimevictories.Inthiswaythoseindoorsacknowledgedorweresometimescompelledtoacknowledgethepresenceofthosewhowereoutside.Thepracticeofilluminationexemplifiestheimportanceoflookingandspectatorshiptothedynamicsofspaceandthepublicsphere,asPeterDeBollaandmanyothershavenoted,oftenentailingthepublic’sself-consciousnessandperformanceofitselfasapublic.Thispaperexploresaperiodinthemid-1780sandafterwhenthepublic’sgazeturnedupwardsandtheoreticallyawayfromitself;whenthespectacleofthepublicspherewasmanifestedintheinventionofthehotairandgasballoonwhichrivetedtheattentionofthewholeofEurope,especiallytheBritishisles.The‘balloonmania’,asitwasknown,isreceivingincreasingattentionfromscholarsofliterary,mediaandculturalhistory,butasyet,suchanalyseshaveremainedlargelygrounded.ThispaperconsidersthesignificanceofballooningasrevealingtheultimateextensionoftheboundariesoftheHabermasianpublicsphere:theskyabove.Whatdiditmeaninaffectivetermstolookuptotheskyforthefirsttimeandseepeopleinhabitingit?Could‘outofdoors’afterballooningeverbethesame?

gillian russellisGerryHigginsProfessorofIrishstudiesintheUniversityofMelbourne.PreviouslyshetaughtattheAustralianNationalUniversity,Canberra.Shehaspublishedwidelyoneighteenth-centuryandRomanticperiodcultureinBritainandIreland,withafocusontheatre,sociability,genderandprintculture.HerbooksincludeTheTheatresofWar:Performance,PoliticsandSociety1793-1815(1995);RomanticSociability:SocialNetworksandLiteraryCultureinBritain1770-1840,co-ed.withClaraTuite(2002)andWomen,SociabilityandTheatreinGeorgianLondon(2007).SheiscurrentlycompletingabookprojectwiththetitleTheEphemeralEighteenthCentury:Print,SociabilityandtheCulturesofCollectinginBritainandIreland.

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9

Friday 7 August Wyselaskie Auditorium

Session 5: Communities

10:00–10:20 Jason stoessel university of new England

ciVic PRide, coMMUnity and FRiendshiP: RePResentations oF eMotional sPaces in the MUsic and oRatoRy oF Johannes ciconia’s PadUaWhenthecomposerJohannesCiconia(c.1370–1412)arrivedinPaduain1401,hefoundavibrantcommunityofhumanistsnotonlykeepingalivethememoryofFrancescoPetrarch—whohaddiedin1374innearbyArquà—butalsoactivelyreinventingmodesofthoughtandcommunicationbaseduponancientmodels.Oneoftheyoungestofthem,PierPaoloVergerio(theElder),hadalmostsinglehandedlyresurrectedpublicoratoryintheclassicalstyle.Whilelessofaclassicist,theolderFrancescoZabarellawasfamedforhispublicspeakingandpowersofpersuasion.Vergerio’sandZabarella’sspeechesoftenpraisedPadua,describingherplacesandscenesusingvividekphrasislikethatwhichMichaelBaxandallidentifiedinthenextgenerationofFlorentinehumanists.ThesameimageryoccursinthetextssettomusicbyJohannesCiconia,textswhich—forwantofanyevidencetothecontrary—thecomposerprobablypennedhimself.ItiswellknownthatseveralofZabarella’sspeechesandCiconia’smotetsplayedaroleinvariousceremoniesinPadua,c.1400.

InthispaperIdiscussafurtherinstanceofcollaborationbetweenZabarellaandCiconia.Ofparticularinterestinthispartnershipbetweenahumanistandmusicianisthewaythatthetwoperformativeactsoforatoryandmusicalperformancenotonlyenunciatedplacethroughspokenandsungdescriptions,therebyemplacingorators,musiciansandlisteners,buttheyalsocreatedaprivilegedspaceresoundingwithlocalisedspeechandsong.Envelopinglisteners,oratoryandsongservedtoevokeinlistenersasenseofcommunitasorafeelingofsocietasthoughsharedexperience.Oratoryandmusicdidthisindifferentways;hereIshallfocusonmusic’scapacitiestoshapememory,associationsandfeelingsinpartnershipwithpoetry.Acrucialquestionremainsaboutwheretheseperformativeacts,whichevokefeelingsofcommunityorsincerefriendship,occurred,andbywhatmethodsmightthissoundworldbereconstructed,evenifonlytoprovidegreaterunderstandingofthepowerfulemotionaluseofmusicatthisearlystageinEuropeanmusicalhistory.

Jason Stoessel(PhD)isaLecturerintheSchoolofArts,UniversityofNewEngland,Australia.In2013hewasBalzanProgrammeinMusicologyresearchvisitorattheFacultyofMusic,UniversityofOxford.HeisanAssociateInvestigator(2014–15)withtheAustralianResearchCouncil’sCentreofExcellencefortheHistoryofEmotions,andcurrentlyholdsanARCDiscoverygrant(2015–2017)withDrDenisCollinsexaminingcanonictechniquesandmusicalchangefromthefourteenthtosixteenthcenturies.HisresearchonmusicandemotionsfocusesupontheemotionalcommunityofhumanistsandmusiciansinPadua,c.1390¬–c.1420,andtheplaceofthevoice(bothhumanandnon-human)inpremodernconceptsofmusic’spower.HisrecentarticleshaveappearedinEarlyMusic,TheJournalofMusicology,PlainsongandMedievalMusicandViator.

10:20–10:40 helen English, university of newcastle

MUsic and eMotion acRoss the landscaPe: bRass bands at a neWcastle MineRs’ deMonstRation in 1874

InNewcastle,NSW,asignificantagreementwassignedbetweenmastersandminersin1874thatseemedtousherinanewageofcooperation,respectandsecurity.Thesameyearaminers’demonstrationwasstagedwhichcelebratedthatagreementinapublicdisplayofpower,emotionandsolidarity.Theimportanceofthedayissignalledinnewspaperreportingwhichusesmythicalimagerytodescribetheday’scommencement,andemotionallanguagetoconveytheunfoldingeventsoftheday.Brassbands,whichgenerallyaccompaniedtheminingcommunitiesonalltheirexcursionsandholidayactivities,werethechiefmeansofmakingmusicforthedayandtheimportanceoftheeventisfurtherunderlinedbythebands’preparation,orderingofnewuniformsandtheunions’generouspaymentsfortheirday’swork.Thispaperfocusesonthedemonstrationasaneventwhereemotionsranhigh,exploringtheuseofmusictounderpinandenhancetheemotionalexperienceofthedemonstrators,aswellasofthehugecrowdswhichhadgatheredtowatchandlaterparticipateafterformalproceedingswereover.Thepaperdrawsonarchivalresearchsourcedfromthreelocalnewspapersoftheperiod,theNewcastleChronicle,MaitlandMercuryandMiners’AdvocateandNorthumberlandRecorder.Minutesofminers’meetings,noticesaboutthebrassbands’preparationandreportsonthedayprovidesufficientdetailstoallowtheday’seventsandimpacttobere-imagined.BuildingontheworkofTiaDeNora,thepaperdrawsontheconceptof‘affordance’toteaseoutdifferentwaysthatmusicwasrepresentingtheminersandreconfiguringthespacesofthelocallandscape.Throughthisconceptandthetheoreticallanguageofsoundscapetheory,thepaperexaminessomekeythemes:musicandemotioninrelationtoidentityinanewlandscape,thestructuringofspacethroughsound,andtheuseofmusictoclaimspace.

Helen english’s earlycareerwasasafreelancepianistandharpsichordist.Heracademiccareerbeganin1997attheUniversityofTasmania.SheiscurrentlySeniorLecturerinMusicattheUniversityofNewcastle.FollowingthecompletionofanMAin2006,shefocussedonhistoricalsoundscapes,presentingtwocreativeworksinNewYork(2007)andLeeds,UK(2008).MorerecentlyshehasbeenlookingatsocialreconstructioninnineteenthcenturyNewcastle,NSW,forwhatwasaBritishworking-classsettlersociety.SheiscurrentlycompletinganinterdisciplinaryPhDwiththetopic,“MusicasaResourceforWorld-buildinginNewcastleanditstownships,1869–1879”.Recentpublicationsinclude“MusicMakingintheColonialCity:BenefitConcertsinNewcastle,NSW,inthe1870s”inMusicologyAustralia(2014).


10

10:40–11:00 Fiona Fraser australian national university

‘FieRy’ and ‘aggRessiVe’ Piano Playing and the ReFineMent oF MUsical taste in eaRly tWentieth centURy sydney

In1904,theworld-famousPolishpianist,JanPaderewskimadeanhistoricvisittoAustralia.AccordingtoaSydneyMorningHeraldreview,his“fiery,aggressivemethodofinterpretation”markedaturningpointinSydney’smusicalhistorywhere“manyoldideaswereslain,andmanynewprejudicesvanquished”(1August,1904).Thecommentator’swordswereprophetic.NumerouschangescanbedirectlyattributedtothistourincludinghigherticketpricesforhighclassmusicaleventsofthisnatureandthefirstconcertbyagroupcallingthemselvesTheSydneySymphonyOrchestraformedfromthegroupofmusiciansbroughttogethertoaccompanyPaderewski.Suchchangeswerecentraltothecreationofahigh-classmusicalcultureinSydney.However,theestablishmentofSydney’smajormusicalinstitutionswasunderpinnedbynewunderstandingsoftheemotionalandtransformativepowerofmusic,whichwerealsoadvancedduringPederewski’stour.Symptomaticofthiswasthechangingroleoftheaudience,who,unusuallyforthattime,weresituatedwithinadarkenedauditorium.Dimmingthehouselightswasintendedtoreduceawarenessoftherestoftheaudience,andfacilitatetheindividual’sfocusonthemusicandemotionscommunicatedbythespotlightedartist.Inthispaper,Iwillpresentsomepreliminaryfindingsfrommyresearchsuggestingthatnewunderstandingsaboutmusicwerecentraltopromotingasenseofaninteriorselfthatareinherentintheconstructionofmodernself-identity.

Fiona FraserinitiallystudiedhistoryandsocialworkattheUniversityofSydneybutreturnedtouniversityin2005tostudycompositionattheANUSchoolofMusic.ShecompletedaBachelorofMusicwithFirstClassHonoursandaUniversityMedalin2008andreceivedthePeterandLenaKarmelAnniversaryPrizeawardedeachyeartothebestgraduatingstudentintheSchoolofMusic.SheiscurrentlyundertakingdualPhD’sattheAustralianNationalUniversityinmusicandhistory.ShehaspublishedrefereedjournalarticlesontheearlyhistoryoftheSydneySymphonyOrchestraandtheearlytwentiethcenturyAustraliancomposerPhyllisCampbell.

11:00–11:20 aleisha Ward, independent researcher

JaZZy neRVes and JaZZed eMotions: the neW Zealand JaZZ age

The1920swereatimeofmusical,cultural,economicandemotionalturmoil.ThereturnofthetroopsandothervolunteersfromWorldWarIhadmanyimplicationsforsociety:hereweremenandwomenwhohadseentheworstofhumanity,survived,butwereunsurehowtoreturntotheirformerplacesinsociety.Forwomenonthehomefront,too,thereturnoftroopsrepresentedagreatupheaval:womenwhohadbeenworkingwereexpectedtoleavetheirjobsandseamlesslyreturntobeingmothers/homemakerswhentheyhadbecomeusedtofinancialandpersonalindependence.Theseconditions,andresultingfrustrationsmadeglobalsocietyripeforacultural,emotional,andmusicalrevolution.

InthispaperIwillexaminetheJazzAgeinNewZealandinrelationtotheseupheavals.Jazz,asmusic,dance,andfashionabletrend,andthevenuesandactivities(includingtheconsumptionofalcoholanddrugs)surroundingjazzbecameanemotionalrefugefromthehorrorsofwarandareflectionofthereliefandreleasefromwar.Jazzwasalsoawaytoexperiencetheextremehighsthatsurroundedthewar(traveltoexoticcountries,theadrenalineoffighting,etcetera).Iwilldiscusshowjazzwasanambiguousobjectduringthe1920swithpositiveandnegativemeaningsattachedtoit(forexamplejazzdancingwasseenasbeingbothahealthyactivityandaphysicallyandmorallydangerousonebydifferentsectionsofthecommunity).Jazzwasconsideredbothasymptomofthemodernworldandthecauseofmodernmaladiessuchasjazzynerves(rangingfromnervousnesstooutrighthysteria).AdditionallyIwillexaminehowtherepresentationsofjazzinthepressplayedonpeople’semotionstoeitherpromoteordenigratewhatevertheybelievedjazztobe.

ItakemytheoreticaldirectionfromWilliamReddy’sconceptof‘emotionalrefuges’and‘emotionalregimes’,whicharevitaltomyinvestigationasawayofunderstandingtheemotionsrunningthroughthejazzage.Asnotedabovetherewereanumberoftensionsandconcernsduringthe1920s,andIpositthatforsomeNewZealandersaspectsofthejazzlifestylebecameanecessaryrefugefromtheirday-to-dayreality,oremotionalregimeofthecurrentstandardsofmoralbehaviour.AlsosignificanttomyworkisPeterN.Sterns’conceptssurroundingthehistoryofemotion,andthemethodsfordiscussingemotioninahistoricalcontext.

Aleisha WardwasoneofthefirstgraduatesoftheBachelorofMusic(JazzPerformance)attheUniversityofAuckland(2003).SheholdsaMastersofArtsdegreeinJazzHistoryandResearchfromRutgersUniversity(2006)andaPhDinMusicfromtheUniversityofAucklandresearchingjazzinNewZealand1920-1955.Sheiscurrentlyafreelancewriter,editor,lecturerandtutorinmusichistory,andalsoworksinalibrary.ShewritesaboutjazzinNewZealandforaudioculture.co.nz,NewZealandMusician,onnzjazz.wordpress.com,andonTwitteras@nzjazzhistory.Shewritesaboutothertopicsonjazzhistorianafterhours.wordpress.com,andaboutjazzfluteforflutejournal.comwheresheisalsoamemberoftheeditorialboard.


11

Session 6: Aftermaths

11:40–12:00 david marshall, university of melbourne

PRactising the eMotions oF MaRRiage: the case oF ottaVia PatRiZi

InthearistocraticcultureofEarlyModernEurope,arrangedmarriageswerethenorm.Itisself-evidentthattheremustfrequentlyhavebeentensionsbetweentheexpectationthatcoupleswoulddisplaybehavioursthatsignalledahappymarriage,andtheeverydayrealityoftheirdomesticlives.InthecaseofthemarriagebetweenOttaviaSacchettiandPatrizioPatriziinRomein1722thereisunusuallydetaileddocumentaryevidenceofsuchtensions.ThismarriagehadbeenarrangedbyPatrizioPatrizi’suncle,CardinalGiovanniBattistaPatrizi.HehadoccasiontowitnessthemarriageasapublicperformanceduringalongstayoftheyoungcouplewithhiminFerrara,wherehewasPapalLegate,formorethanayearin1726–27.FromhisregularletterstohisbrothersinRomeemergesapictureofahecticsocialliferangingacrossnorthernItalyfromModenatoVenice,involvingballs,thepleasuresofCarnival,riding,villeggiatura,andover-indulginginchocolate.ButthereisacountercurrentofanxietyaboutthefailureofthecoupletohavechildrentopropagatethePatriziline,andrecoursetomedicalsolutions,suchasbloodlettingortheeatingofviper’sbroth.IntheCardinal’scommentaryOttavia’svoicegoesunheard;butadecadelaterherprivateemotionsemergeinanimpassionedlettertoherhusbandrequestingaseparationbecauseoftheloathingshehadfelttowardshimsincethebeginningofthemarriage.Alsosurvivinginthearchiveishisdismayedresponse.Thispaperexplorestheimplicationsofthisinstanceofthetensionbetweenthepublicpracticeofamarriageandtheprivateemotionsofitsparticipants.

david Marshall(PhD)isPrincipalFellow,SchoolofCultureandCommunicationandtheUniversityofMelbourne,andHonoraryResearchFellowattheBritishSchoolatRome.HeisaFellowoftheAustralianAcademyofHumanities,andisfounderandEditoroftheMelbourneArtJournal.PublicationsincludeVivianoCodazziandtheBaroqueArchitecturalFantasy(1993)and(ed.)Art,SiteandSpectacle:StudiesinEuropeanVisualCulture(ed),2007,and(withSusanRussellandKarinWolfe),eds.,RomaBritannica:BritainandRomeintheEighteenthCentury(CambridgeUniversityPressandtheBritishSchoolatRome,2011).

12:00–12:20 Philippa barr independent scholar and producer

sydney 1900: PeRFoRMance oF disgUst in the context oF an ePideMicIntherapidlyurbanizingenvironmentofSydneyin1901anoutbreakofthebubonicplaguepromptedaparticularlyenergeticprojectofsanitation,quarantineandrenewal,removingslumsandthebusinessesofChineseimmigrants,aswellasconnectingthesuburbstothesanitationsystem,foreverchangingthewaythatwecometomeasurepublicandprivate.Threeprincipaltechniquesweremobilizedtocontaintheplaguequarantine,hygieneandsanitation.

NorbertEliasarguesthattheperformanceofrepugnanceemergedinthe18thcenturyFrencharistocracyasameansthroughwhichtheycoulddifferentiateanddegradeasvulgarthetasteandhabitsofthebourgeoisie.Astheprofessionalclassesexpanded,hereditaryprivilegeandexemptionfromemploymentbecamealessstablebasisforthedistinctionbetweenclassidentities.Thedifferencethathadbeenmaintainedbyancestryandoccupationhadtobecreatedbyothermeans;theupperclasseshadtodiscriminatebourgeoistasteandmoralsfromtheirown.Atthispoint,Eliasargues,theperformanceofdisgustandaversionbecameacrucialmeansofcreatinganddefendingidentity.In19thcenturyAustralia,wherehierarchywasnotwhollydeterminedbyancestry,theperformanceofthe‘proper’mannersandbehaviourwascrucialtobeingidentifiedwithclassandstatus.Myhistoricalethnographyrevealsthatthepublicperformanceofdisgustproliferatedinthecontextoftheplagueoutbreakasameansofperformingthedifferencebetweenthebodyofthecleanandhealthycitizenasopposedtothebodyofthedirtyanddiseased,whichwasbydefinitionirresponsibleanddeservingofregulationbythestate.

Whilequarantineandsanitationaredistinguishedasapublicandsocialmeansofregulationandconstraint,hygieneoccupiedacomplementaryyetisolableroleasameanstoself-constraint.Throughthemedicaladviceandproductsthatdirectedthewaypeopleshouldcareforthemselves,hygieneensuredthetransformationsinthesocialbodywouldbeenabledbychangesintheindividualbody.Heretheroleofodorwasequallyimportant,asitprovidedameansofrecognisinganddistinguishingthe“selfandclean”bodyfromthoseofothers.Iarguethatthis“selfandclean”,healthybodywasabasisofcitizenship;itdefinedtherights,dutiesandentitlementsoftheindividualinrelationtothestate.Inthiscontexttheperformanceofdisgustandaversionwasthuscrucialtobothhealthandcitizenship–asitenabledonetodifferentiateoneselffromthatwhichwasthesourceofcontagion,andinneedofintervention.Byplayingaroleinthesocial-constrainttowardself-constraint,inSydneyin1900disgustandaversioncametoregulatehygienicbodyandsanitisedcityspace,whichformedthebasisoftheemergentsocialorder.

Philippa Nicole Barr isadigitalanalystandproducerwhoselastcompletedprojectwasfortheCancerCouncilNSW.SheholdsaMastersinPhotographyandVisualDesignfromtheNuovaAccademiadiBelleArteinMilanandshehasproducedmultimediaprojectsforavarietyofinternationalclientsincludingtheEconomistIntelligenceUnit,CorrieredellaSeraandDomus.HerHonoursdissertationwasawardedthe2005prizeforbestHonoursthesisinanthropologybytheAnthropologicalAssociationofAustralia.UntilrecentlyshewasworkingonaPhDthesisconsideringhowthedesignandproductionofatmospherescouldfunctionasastartingpointforanewglobalpoliticalcommons.


12

12:20–12:40 Kathryn Prince, university of ottawa

eMotional geogRaPhy, indigenoUs land Rights, and the instRUMentality oF shakesPeaRe

ForAustraliantheatregoers,thenotionofanindigenousKingLearprobablyevokesthecompelling,criticallycelebratedadaptationTheShadowKingthatpremièredatMelbourne’sMalthousein2013andsubsequentlytouredtheAustralianfestivalcircuit.Withthisproductionloominginthebackground,mypapertellsthetaleofamoremodestlyreceivedCanadianKingLear.Conceivedin1968andfinallyproducedforthefirstandonlytimeatCanada’sNationalArtsCentrein2012,thisKingLearwithitsall-indigenouscasthadadifficultgestationandbirthaswellasashort,ill-fatedlife.PerformedentirelyinEnglish(incontrasttothemultilingualscriptofTheShadowKing)anddirectedbytheNAC’snon-indigenousartisticdirector,PeterHinton,thisproductionspoke,sometimesunwittingly,ofcolonialism,contamination,anddefilement.Promotedasa“playasbigasCanada”andintroducedwithaceremonywelcomingspectatorstotheuncededAlgonquinterritoryonwhichtheNAC(andtheentirenationalcapitalregion)issituated,theproductionreshapedtheemotionalgeographyofpre-ConfederationCanadabyusingLeartoevokeafictitiousepisodeofindigenousparticipationinthedivisionofancestrallands.Lear’sdivisionofthekingdoms,disastrousenoughintheculturalcontextoftheUnitedKingdom,becameevidenceofculturalcontaminationatthehighestlevel,Lear’smisguidedattempttoreversetheindigenousviewthat(astheShadowKingprogramarticulates)“wedon’towntheland,thelandownsus.”WhilemanyelementsofthisCanadianproductionwereproblematic,thedecisiontosituatetheactioninseventeenth-centuryOttawaandtoremindtheaudienceoftheland’scurrentterritorialstatusyieldedcompellinginsightsandsetupresonancesbetweenthehistoricalandcontemporaryemotionalgeographiesofCanada’scapital.Reflectingontheculturalspecificity,multilingualism,andcriticalacclaimoftheAustralianexample,mypaperconcludeswithsomethoughtsaboutindigenoustheatreandtheinstrumentalityofShakespearewithintheCanadianandAustralianpublicspheres.

kathryn Prince(PhD)isatheatrehistorianwithaparticularinterestinearlymodernemotions.Hercurrentworkfocusesontheintersectionsofspace,bodies,objects,andemotionsinearlymodernperformance,aswellas“performance”inabroadersenserelatingtoearlymodernaccountsofcross-culturalcontact.HerrecentpublicationsincludetheeditedcollectionsPerformingEarlyModernDramaTodayandHistory,Memory,PerformanceaswellasthemonographsShakespeareintheVictorianPeriodicalsand(forthcoming)ShakespeareinPractice:SpaceaswellasnumerousarticlesandbookchaptersonShakespeareinperformancefromtheeighteenthtothetwenty-firstcenturies.SheisanAssociateProfessorattheUniversityofOttawa(Canada)intheDepartmentofTheatre,thebookreviewseditorofShakespeareBulletin,andin2015isanEarlyCareerInternationalResearchFellowattheARCCentreofExcellencefortheHistoryofEmotions.

12:40–1:00 linda Kouvaras, university of melbourne

the RestoRation oF eMPathy: a soUnd aRtWoRk in dialogUe With PaRliaMent hoUse

Therewasanextraordinaryincidenton9October2012atParliamentHouseinournation’scapital:then-PrimeMinisterJuliaGillarddeliveredhernow-infamous“misogynyspeech”.Thetreatmentinparticularofthiswomanbythen-OppositionLeaderTonyAbbotthaddrivenhertoapointoffrustrationthatspawnedthiscriedecoeur,bywhichtimethewiderperceptionofGillardwasthatshehadbeenreducedtoanautomaton,ade-subjectivized,authenticity-free-zonepuppetoftheLaborbackroomfacelessmen(so-called).

InthehighlychargedpublicspaceofParliamentHouse,therearetypicallymyriademotiveundercurrents.Themotionsthatareputforward,theensuingdiscussionandcommentaryareinvariablyheated,exchangesareoftendownrightrudeanddisrespectful,andspeakersareinterruptedfromthefloor.Andyetwhileonecansensethelikelyreactiononthepartoftheprotagoniststowhatistranspiring,thereislittle“room”forempathicengagementwiththepersonspeaking,eitheronthepartoftheparticipantsortheviewingpublic(especiallyifweareataremovefromthesceneandwatchingthetelevisedpresentation).Thisisparticularlysobecausewhileaggressiveblusterandbravadoareallseenaslegitimateaffectivestatesinthissetting,vulnerabilityandhurtarenot.

Whiletheworlddivideditselfinreactiontothespeechalonglinesthateitheragreedordisagreedwithitscontent,itsemotionaldimensionwasnotafocus.Incontradistinction,AustraliancomposerRobertDavidson(b.1965)hascreatedahighlysympatheticchoralsettingofthisspeech,“NotNow,NotEver”:GillardMisogynySpeech(2014),harmonizingGillard’swordsforacapellaSATBChoirandVideo,retainingherspeechasa(studio-manipulated)overlay(reducedfromoriginal15’to4’).Hewrites:“Iwantedtoputaframearoundthissliceoftime,toheightenmyperceptionofwhatwasbeingsaidbehindthewords,intheintonationofthevoice,andinthedynamicsofwhatwasbeingsaidininterjectionsandreactions”.

IwantheretoexplorethenatureofDavidson’saugmentationoftherestitutionprojectofthiswomanthatsheherselfmobilizeswithher“misogyny”speech.Mydiscussionwillincorporateamulti-dimensionedengagementwiththeoriesofwoman’svoice,femalepowerpositions,soundart,musicalanalysis,andthesignificanceofamalecomposerchoosingthissubjectmatter,wherebytheemotionalrealmisuncoveredinthesupposedlyemotionallydrysettingofoneofAustralia’smostimportantpublicterrains.

linda kouvarasisAssociateProfessorattheMelbourneConservatoriumofMusic.ShehasaPhD(Musicology),MasterofMusic(PianoPerformance)andBMus(Hons)fromtheUniversityofMelbourneandAMusAfromtheAustralianMusicExaminationsBoard.Herresearchinterestsareincontemporarymusic(classicalandpopular),genderstudiesandcompositionandsheisarepresentedcomposerattheAustralianMusicCentre.SheisalsoresidentFacultyCoordinatorandTutorinMusicatOrmondCollege,apianoexaminerfortheAMEB,andshemaintainsarobustpianoteachingstudio.WithGrahamHairandRuthLeeMartin,sheiseditorforCurrentIssuesinMusicandisontheEditorialBoardofBukkerTillibul.


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Session 7: At the Limits

14:00–14:20 helen hickey, university of melbourne

Walk this Way: tWo JoURneys to JeRUsaleM in the FiFteenth centURy

PilgrimageisacentralthemeinChristianity.AstheimageoftheChristianjourneythroughlife,aphysicaljourneytoasacredlocation,andaninteriorexperience,theimpulseandpracticeofperegrinationesoftenoverlap.Pilgrimageisalsoafrequentandvitalcomponentofawiderangeofmedievalsecularandspiritualtexts:Chaucer’sCanterburyTales,Langland’sPiersPlowmanorGuillaumedeDeguileville’sOldFrenchLePèlerinagedel’Âme,whichwastranslatedintoThePylgremageoftheSowle,andwidelycirculatedinfifteenth-centuryEngland.Inaddition,wehavefirst-handaccountsoflate-medievalpilgrimages.

ThispaperappraisesplacepilgrimagetoJerusalemintwolate-medievalEnglishtexts:TheItinerariesofWilliamWeyandTheBookofMargeryKempe.WilliamWeyjourneyedtoJerusalemtwice:1458and1462,MargeryKempeonlyonceintheearlyfifteenthcentury.OneofWey’sclaimstofameishisfirstuseoftheword‘stations’fortheseriesofstopsontheviacrucis.The‘stations’wouldevolvetobetheStationsoftheCross.Kempeiswellknownforhervociferousandlachrymosepiety,aswellasherconstantmovementtoholysites.Intriguingly,oneofKempe’sinspirationsisbelievedtobetheYorkCorpusChristiPlays.BothWeyandKempeofferuniqueinsightsintotheperformanceofpilgrimageandthecomplexmotivesforandunderstandingsaboutsuchjourneys.Atthepointwheresecularandsacredexperiencescrossover,wecanmaptheemotionsthatattendedtheirrespectivejourneystoandthroughJerusalem.Someofthesefindingsdisturbacohesiveinterpretationofthepracticeofemotioninlate-medievalpilgrimage.

Helen HickeycompletedaPhDinmedievalliteratureattheUniversityofMelbourneafterstudyinghistoryandsociologyatLaTrobeUniversity.In2013shewasawardedatravelbursaryfromtheSocietyfortheStudyofMedievalLanguagesandLiteratureattheUniversityofOxfordtostudythereliccultoftheSainteLarme(HolyTearofChrist).Shehasaforthcomingchapterinaneditedcollectiontitled‘TraumainMedievalLife’andisamemberoftheInternationalHealthandHumanitiesNetwork.

14:20–14:40 Jennifer spinks, university of manchester

bacchUs and the JUggeRnaUt: indian ReligioUs PRocessions and eaRly ModeRn eURoPean eMotional ResPonses

Thispaperwillexplore‘Indian’processionsseenthroughEuropeaneyesinthesixteenthandearlyseventeenthcenturies.ItwillexaminetheemotionalunderpinningsofnorthernEuropeanvisualandtextualdepictionsoftheIndianjuggernaut(aformofpublicreligiousprocessionnotoriousfortheapocryphalcrushingofthebodiesofHinduworshippersunderthewheelsofRathaYatrawagonsbearingstatuesofHindugods).TheserepresentationssoughttotriggersensoryandemotionalresponsesthatwerefundamentallylinkedtoEuropeananxietiesaboutthe‘otherness’ofthedepictedbodiesandrituals.TheyrevealananxiousfascinationbyearlymodernEuropeanswiththedynamicsofperformativereligiousecstasyindeeplyforeigncontexts.ButtheyalsotappedintorecognisablyEuropean,domestictraditionsofpoliticalandreligiouspublicprocessionsthatwereenacted,depicted,parodiedanddebatedwithinEuropeduringtheReformationandCounterReformation.

ReportsbyEuropeantravellerstoIndiawereoftenfedthroughMediterraneanandmostlyCatholicEurope,buttheygainedgreaterpolemicaltractioninnorthernandsometimesProtestantEuropeancontexts.Thispaperwillsuggestthatdebatesconductedinconfessionally-dividedhot-spotsinnorthernEuropeareespeciallycriticaltounderstandingEuropeanrepresentationsofthejuggernaut.Thatis,theserepresentationstappedintodebatesabouttheroleofbodies,imagesandobjectsinsacredspaces:inchurches,inpilgrimagesites,andinemotionally-chargedChristianreligiousprocessionssuchasthoseheldforCorpusChristi,orbypenitentialflagellants.Finally,thepaperwillexaminehowthejuggernautalmostcertainlyalsorecalledforEuropeansthefrenziedBacchicprocessionsthattheyunderstoodashavingquiteliterallyoriginatedinIndia,andwhichformedapopulartoposinearlymodernvisualculture.Keysourcesforthepaperwillincludetextualandvisual(mis)representationsbyAndréThévet,SebastianMünster,JanHuygenvanLinschotenandMaartenvanHeemskerck.ThroughacomparisonofrepresentationsofthejuggernautandtheBacchicprocession,thepaperaimstounpacktheemotionaldynamicsof‘Indian’publicreligiousprocessionsviewedthroughtheprismofnorthernEuropeanreligiousanxieties.

Jennifer SpinkswasappointedLecturerinEarlyModernHistoryattheUniversityofManchesterin2012.ShewaspreviouslyAustralianResearchCouncilPostdoctoralFellowattheUniversityofMelbourne(2009–12),andcompletedherPhDattheUniversityofMelbournein2006.HerresearchispredominantlyconcernedwithreligiouspolemicandprintcultureinearlymodernnorthernEurope,andherpublicationsincludeMonstrousBirthsandVisualCultureinSixteenth-CenturyGermany(PickeringandChatto,2009)andTheFourHorsemen:Apocalypse,DeathandDisaster(NationalGalleryofVictoria,2012;co-editedwithCathyLeahyandCharlesZika,andaccompanyingacollaboratively-curatedexhibition).


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14:40–15:00 grace moore, university of melbourne

staging dickens’s eMotions: PeRFoRMing the FRoZen deePInNovember1854CharlesDickenswasapproachedbyLadyJaneFranklin,thewidowoftheArcticexplorerSirJohnFranklin,whohaddiedwhilesearchingfortheNorthwestPassage.Seekingtosalvageherhusband’sreputationfromallegationsofcannibalism,LadyJaneenlistedtheassistanceofthemostinfluentialnovelistoftheday.Dickensrespondedbypublishinganarticle‘TheLostArcticExplorers’,inhisjournal,HouseholdWords,whichrefutedtheclaimsofDr.JohnRae,whohadfoundtheremainsoftheexplorerandhisparty.WhilefulsomeinitsdefenceofFranklin,Dickens’sarticle—whichappearedintwoparts—isnotableforitsvitriolicracism.However,hissupportforFranklindidnotendhere.

In1856Dickens’sfriendandoccasionalcollaborator,WilkieCollins,wroteaplaybasedontheFranklinExpedition,TheFrozenDeep.TheplaywasoriginallyperformedasaprivatetheatricalatCharlesDickens’shome,withthemoreestablishedwritertakingtheleadroleastheheroRichardWardourand,characteristically,‘improving’theplaythroughendlessrevisions.Theworkwaslatertransferredtothestageandprofessionalactresseswereengagedtotakethefemaleroles,includingtheyoungwomanwhoislikelytohavebecomeDickens’smistress,EllenTernan.

ThispaperwillexplorethelayersofemotionsurroundingtheperformanceofTheFrozenDeep,aplaythatseemstohavedependeduponDickens’smesmerizingcharismaforitssuccess.Examiningreviewsandlettersalongsidethetextoftheplay,IshallconsideraffectiveresponsestoDickens’sperformance(includingthoseofQueenVictoria,whosawTheFrozenDeepandwroteofitinherdiary),whilealsoaddressingtheextremeemotionsthatthenovelistchannelledintohisactingatatimeofprofoundpersonalcrisis.ThestagewasDickens’sfirstloveandhisdecisiontoperforminpublicchangedthecourseofhiscareerandeventuallyshortenedhislife.AspartofmyemotionalanalysisIshallendeavourtodeterminethequalitiesthatcombinedtomakeDickenssuchanengagingperformer,aswellasexaminingtheplay’srebuttalofthetabooissueofcannibalism.

grace MooreisaSeniorResearchFellowattheARC’sCentreofExcellencefortheHistoryofEmotions.SheisaDickensscholar,whoalsoworkswithecocriticism,andispresentlyworkingonastudyofnineteenth-centurysettlersandbushfires,ArcadyinFlames.

15:00–15:20 Fiona mcandrew, university of melbourne

Re-iteRating the FeMinine: the social and eMotional Politics oF sPace and PeRFoRMance in an oRiginal PRodUction oF MilhaUd’s oPeRa, MédéeThispaperelucidatessomekeydiscoveriesincollaborativelystaginganewproductionofDariusMilhaud’s1938opera,Médée.Operaasamusicalformthatcombinesadditivelywithliterature,design,theatreandspace,cantransformtheconsciousnessofbothlistenerandperformerbyevokingpersonalandculturalassociations(Harung,2012;Herbert,2011;Maslow,1962;Panzarella,1980;Meyer-Dinkgräfe,2013).WechosetostageMédéeinaspacereclaimedfromitsuseasastoreroomthatcontainedthelastremainingcellwithinFremantleArtsCentreinWesternAustralia,whosepremiseshadformerlybeenanasylumfortheinsaneinthe19thcenturyandlaterawomen’shome,inordertochallengereceivednotionsaboutthisancientmyth,abouttheroleofoperasingersandoperaticperformance,andconventionsoftheatricalexperienceinopera.

MadeleineMilhaud’slibrettoforherhusband’soperafollowstheclassicalsourceofEuripides(withdetailsdrawnfromversionsbySenecaandCorneille).InearlierversionsofthestorytheCorinthianskilledMedea’schildren.EuripideshoweverputspsychologyattheheartofthestorybymakingtheirdeathsMedea’sresponsibilityandhavingthatsamecharacteraddresstheaudienceofmenatthetheatre.Theco-existenceofemotionalpolaritiesequallytenderanddestructive,hasbecomethestandardtreatmentofthismytheversinceandintroducesthepsychologyofthefeminine.Médée,herselfastatelessrenegadeafterherpassionateandmurderousexcessesinhelpingJasonoftheArgonauts,isnowabandonedbyherhusbandinaforeignland.Euripides’MedeahadalreadypointedtobroadersocialpressuresthatliebehindwhatshedoesandwhatisshockingaboutMédéeisthatformuchoftheoperasheseemsneithermadnorevil.

Threekeyvariableswereexaminedinpreparingandrehearsingtheperformances:

1.Howdoesthesingerusethehistoricaldevelopmentofthistheatricalstory,personalresearch/emotionalrecallandhowistherelationshipbetweentheseelementsaffectedbythephysicalspaceinwhichtheperformanceisstaged?

2.Howfarcantheoperasingerinthesecircumstanceschallengethebalancingactofoperaticperformance,usingpsychologicalandacousticresonancesofspacetocreateanewkindofintimacywhilststillremainingsonorous,accurateandwithinthetheatricalmoment(demandedbythemusicandthedrama)?

3.Whathappenstothestorytellingandpsychologicalresonanceoftheperformancewhenthegenderofthecharactersofhertwochildrenischangedfromtheoriginalmaletofemale?

Fiona McAndrewhasaninternationalcareerasanoperaticsoprano,performingwiththeSemperoper,Dresden,TeatroComunale,Bologna,WexfordFestivalOpera,Ireland,CoventGardenFestival,DresdenFestival,RossiniOperaFestival,BBCConcertOrchestra,UlsterOrchestra,SanAntonioSymphony(Texas),NorthernSinfonia(UK),DresdnerSinfonikerandIrishNationalSymphonyOrchestra.ShehasbroadcastliveonBBCandRTEradioandinAustraliaforABCClassicFM.SheiscurrentlycompletingaPhDinPerformanceattheUniversityofMelbourne.SheholdsaFirstClassHonoursdegreeinpsychologyfromUWAandherPost-GraduatestudiesinoperawereattheGuildhallSchoolofMusicandDrama,London.Shehasworkedrecentlyasavisitingartist/teacherfortheclassicalvoicedepartmentsofWAAPA,UniversityofWesternAustraliaandtheMelbourneConservatoriumofMusic.


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Session 8: Enactments

15:40–16:00 siobhan hodge, university of Western australia

tRansFoRMatiVe eMotions: Place in PeRFoRMance oF saPPho

TheancientGreekpoetSappho,firsttranslatedintoEnglishoverfourhundredyearsago,hasanequallylonghistoryofconscriptiontofitparticularinterpretationsofherlifestyleandcharacter.Alternatelyrebrandedasdutifulmotherandwife,dedicatedteacherandreligiousleader,orasanoutspokenlesbianlover,amongtheonlyconsistentthreadsinpopularEnglish-languagereceptionofSappho’spoeticsandincreasinglymythologisedbiographicaldetailsareherimpassionedandemotiveexplorationsoflove,humannature,beauty,andself-control.LaterperformancesofSappho—ofherlifeandpoetry—havebeennodifferentinthisregard.

Sapphohasalsobecomecloselyaffiliatedwithparticularspaces,detailedinherfragmentarypoetryandselectivelyemphasisedinlaterrecreationsofherwork.Thesehavebeenreflectednotonlyintranslationsofherpoetry,butalsoinperformancesandotherproductionsofherwork,includingJaneMontgomeryGriffiths’play“Sappho…in9fragments.”TheprivategatheringsinsacredspacesmentionedinherpoetrystandinstarkcontrasttothegrimLeucadiancliffscitedinOvid’sEpistulaSapphus,ortheuniversitylibrarysettingof“Sappho…in9fragments.”Inaddition,thepoliticalsnipingalludedtoinotherSapphopoemshintatamuchmorecriticalrelationshipwithspacethanthattraditionallyacknowledged.ThepoeticanddramaticsettingsofSappho’spoetryandlifeconsistentlyreflectissuesofself-control,whichhaveinturnbeensubjecttostrainedinterpretationsbycenturiesofcreativeadaptors.

Inthispaper,IwilldiscusstheevolutionofpoeticandperformancesettingsforSappho’spoetry,shapedbytheemotiveanddescriptivecontentofherextantwork,aswellasshiftingpublicreceptionsofthepoetandheroeuvre.Sappho’sintriguinglyconsistentconnectionswithheraudiencewillalsobeexaminedindetail,movingfromplacetoplace,intranslationandotherformsofproduction.Theendresulthasbeenapoetentrenchednotonlyincontradictoryinterpretations,butironicallyconsistentinherpoeticthemes,andsignallingafarmoredynamicrelationshipwithherpoeticandperformativesettingsthanhastypicallybeenrecognised.

Siobhan HodgegraduatedfromtheUniversityofWesternAustraliain2015withfirst-classhonoursandaPh.D.inEnglishliterature.HerthesisexaminedSappho’spoetryanditstransmissionviatranslationandlatercreativeadaptations.Shehaspublishedpapers,poetryandreviewsinCordite,Limina,Colloquy,PlumwoodMountain,andRabbitPoetry.SiobhaniscurrentlythereviewseditorforWritReview,anewonlinepoetryjournalbasedinWA,andwaspreviouslyaProjectOfficerforTrove,UWA’sonlinecreativeartsjournal.Sheiscurrentlyworkingonabookversionofherthesisandseveralpoetryprojects.

16:00–16:20 Penelope Woods, university of Western australia

‘a noyse Within’: the eaRly ModeRn tiRing hoUse and the inVention oF a neW eaRly ModeRn sPace oF eMotion

TheOxfordEnglishDictionarygivesthefirstuseoftheterm“TiringHouse”as1600(fromAMidsummerNight’sDream).ThiswasthespacethatabuttedtheearlymodernPlayhouseinwhichactorsstoredandchangedcostumes(or“tires”),keptstagepropertiesandpromptbooks,awaitedtheircuesandhadtheirhairandmakeupdonebystagehandswhoalsooccupiedthisspace.Offstagenoises,cuedinsurvivingstagedirections,weremadeinthetiringhouseprobablybycompanymusicians.Itwasaseparateandlockablestoragespaceaswellasabusyworkspaceduringperformances.ThebuildingcontractfortheFortuneTheatre(1600)indicatesthedimensionsofthisspace,whichwaslittlemorethanacorridor.Specialprovisionwasmadeforglasswindowsinorderforbackstageworkerstobeabletoseetoreadandapplymakeupandcostumes.Dividedfromtheplayhousebythefronsscenae—orbackwall—ofthestage,theTiringHousewasapragmatic,essentialfeatureofearlymoderntheatrespace,whichwascoinedwiththebuildingofthefirstplayhousesinEnglandinthe1560s.However,italsoservedasare-codifiableandimaginaryoff-stagespacewithinthenarrativeoftheplay.Performers‘entered’theGreekcamp,alunaticasylum,acastle,amonasticcell,andsoon,byexitingthestageintotheTiringHousethroughadoorofthefronsscenae.Thissignificantpractical,imaginative,metaphoricalspacehasgoneunexaminedinaccountsofplayhousepracticeandemotion.InthispaperIuseDoreenMassey’sworktounpicktheinterrelationalnatureofthisspace.Masseyhasarguedthatspaceis‘alwaysunderconstruction’(Massey,2005:9),andIchartadevelopmentfromtheveryearliestsurvivingreferencestothisspaceoverthesubsequenteightyyearsofuseuntilthepublicplayhouseswerecloseddownin1642inordertodevelopanewunderstandingoftheshiftingcultural,metaphoricalandemotionalsignificanceoftheearlymodernTiringHouse.DrawingonMoniqueScheer’swork‘AreEmotionsaKindofPractice?’(2012)Isituatethissignificancewithinanearlymodernhabitusofemotionalpractice.

Penelope WoodsisaPostDoctoralResearchFellowintheARCCentreofExcellencefortheHistoryofEmotionsattheUniversityofWesternAustraliawhereshespecializesinthehistoryoftheatreaudienceaffect.Penelopeworksontherecuperationofimmaterialculturethroughmaterialculturehistoriesofspaceandobjectstobetterunderstandtheoperationofsocialemotion.SheiscurrentlyworkingonthebookmanuscriptofherPhDresearchintospectatorshipandarchitecturewhichwascarriedoutincollaborationwithShakespeare’sGlobe.Penelopehaschaptersontheoperationofintimacyinseventeenthcenturyindoortheatres(MovingShakespeareIndoors,ed.byAndrewGurrandFarahKarim-Cooper,CambridgeUniversityPress,2014),onShakespeareandAdaptation(TheatreandAdaptation,ed.byMargheritaLaera,Methuen,2014),andonyoungaudiencestoday(ShakespeareinPractice:TheAudiencebyStephenPurcell,PalgraveMacmillan,2013).


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16:20–16:40 robert Wellington, australian national university

coded Passions: PUblic disPlays oF eMotion at the coURt oF loUis xiV

ThispaperwillanalyzeengravingsfromabookthatrecordsacelebrationatVersaillesin1664toexposeadisjunctionbetweenthehiddenpassionsofitsparticipantsandthepublicportrayalofemotionsincourtfestivities.ThefirstofLouisXIV’sfêtestobeheldatVersaillestooktheformofaromanticsagastagedoveraweekcollectivelytitledThePleasuresoftheEnchantedIsle.LudovicoAristo’ssixteenth-centuryepicpoemOrlandoFurioso(thetaleofaknightandhisdestructivepassionforapaganprincess)providedthepremiseforatournamentandtwoballets.TheentertainmentsalsoincludedafeastandplayswrittenandperformedbyMolièreandhistroupe.Officially,theeventwasheldtohonorthetwoqueensofFrance,LouisXIV’sbride,Marie-Thérèse,andhismother,AnneofAustria.Butthetruefocusoftheking’saffectionswashismistressLouisedelaVallière,anditwassurelynocoincidencethatherbrother,themarquisdelaVallière,wasthechampionofthetournament.

Despitetheromanticthemeofthesefestivitiestheportrayalofhumanpassionsisstrangelyeschewedfromtheofficialrepresentationsoftheevent.ThispaperwillanalyzeIsraelSilvestre’sengravingsofThePleasuresoftheEnchantedIsletoexplorethesublimationofembodiedpassionstoacceptablecodesofbehaviorattheCourtoftheSunKing.Drawinguponofficialaccountsofpubliceventssuchasthis,alongsidepersonalmemoireswrittenbycourtiers,IaimtorevealadisparitybetweenprivatespontaneousdisplaysofemotionandpassionsencodedinthepublicperformanceofthearistocraticbodyatLouisXIV’sVersailles.

robert WellingtonisalecturerattheCentreforArthistoryandArtTheoryattheAustralianNationalUniversity.HeisaspecialistinthevisualandintellectualcultureofLouisXIV’sCourt,andhasaparticularinterestinnumismaticsandprintculture.HisbookAntiquarianismandtheVisualHistoriesofLouisXIV:ArtifactsForaFuturePastwillbepublishedbyAshgateinOctober2015.

16:40–17:00 robert Phiddian, Flinders university

sPectacUlaR oPPosition: sUPPRession, deFlection and the PeRFoRMance oF conteMPt in John gay’s beggaR’s oPeRa and Polly

ThesuccessonstageofJohnGay’sBeggar’sOpera(1728)followedbythepartialsuppressionofhisPolly(1729)providesoneoftheclassictalesofearlyeighteenth-centurypublicculture.LikeGulliver’sTravelsonlytwoyearsearlier,theBeggar’sOperawasaspectacularactofsatiricaldissentagainsttheWalpoleregime.Itwasnotsuppresseddespiteitsnearlyopencritiqueofthegovernment,butSirRobertWalpolesawtoitthatitssuccessorforthenextseason,Polly,wasnotstaged.Thissuppressionwasonlypartlysuccessful,however,asPollywasthenpublishedbysubscriptionandactuallyearnedGaymorethanhegleanedfromthestagingoftheBeggar’sOpera.

Partofthepapertakessomecuesfromcognitiveanalysesoftheemotions,tooutlinehowGay’soperasfunctionascontainersforthespectaculardissentofScribleriansatire,andspecifically,howtheydeploylaughtertochannelanger,contempt,anddisgust.Theseemotionssituatesubjectsindifferentwaystowardsthematerialsatirized,andGay’soperascanbeanalysedparticularlyforthewaystheyexpressandmobilisecontempt.Thispaperwillinvestigatethereceptionoftheoperas,oneasperformance,bothastexts,inWalpole’sEngland.SatireslikeGay’sseemtohavehadlittledirectimpactonpolicy,butitistheemotionaleffectsofcatharsis—ofventingandcontainingpotentiallyrebelliousemotions—thatneedsfurtheranalysisforaculturalhistoryofthepublicsphere.Theoperassignalpartofarguablythefirstdevelopmentofrobustandmore-or-lesstoleratedpublicdissentagainstacurrentregimeinearlymodernEurope.

robert PhiddianisAssociateProfessorofEnglishandDeputyDeanoftheSchoolofHumanitiesatFlindersUniversity.HeisauthorofSwift’sParody(Cambridge,1995)andthirtyotherpublications,principallyoneighteenth-centuryliteratureandcontemporaryAustralianpoliticalcartooning.HeisChair,AdelaideFestivalofIdeas(2008–14),Director,AustralianConsortiumofHumanitiesResearchCentres(2010–),BoardMember,AustralianBookReview(2013–16),andanAssociateInvestigator,CentrefortheHistoryofEmotions(2012–14).WithHeatherKerrandDavidLemmings,heisco-editoroftheforthcomingPassions,SympathyandPrintCulture:PublicOpinionandEmotionalAuthenticityinEighteenth-CenturyBritain(Palgrave,2015).


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Session 9: Keynote

17:05–17.50 sven-oliver müller, max Planck institute, berlin

Felt coMMUnities? the behaVioUR oF conceRt aUdiences in the MetRoPolis oF the 19th and 20th centURyThenineteenthandtwentiethcenturieswerenotonlytheeraofsocialrevolutions;theywerealsotheheydayof“seriousmusic”.ConcertsofsymphonicmusicwereanintegralpartoftheleisuretimeoftheEuropeanelite.Theseproductionswerenotonlyamusicalbutalsoasocialsphere.Inlightofthisduality,ratherthananalysingthemusicalworksthemselves,thispaperwillinvestigatetheemotionalpracticesandhabitsoftheaudiencestodemonstratethesocialinfluence,politicalsignificanceandculturalchangesatleadingEuropeanmetropoliseslikeBerlin,Paris,LondonandVienna,thusrevealingtheprimarilysocialandpoliticalfunctionofthoseentertainments.

Thesignificanceofthisinvestigationthusturnsupononecentralquestion:doesmusiccreate“feltcommunities”,andifso,how?Toaddressthis,Iwillpresentrelevantaspectsofthehistoricaldevelopmentofemotionsinmusicallife,whichrevealtherolemusichasplayedinthecohesionofsocialandculturalgroupsinavarietyofhistoricalcontexts.Fromthisperspective,therelationshipbetweenmusicandfeelingisnotuniversal,butdependentonhistoricalandsocio-culturalfactors.Byanalysingemotionsasamodeofsocialcommunicationindifferentmusicproductions,itishelpfultouseakeyterm:change.Musictooisaboutchanges;ittakesplaceintime,inaconstantflux,andthisisalsotruefortheemotionsofthelisteners.Iwillexploretheriseofcertainaudiences,andtheemergingandvanishingofemotionalpatterns,whichallowedsocialgroupstofeelmusicindifferentwaysatdifferentpointsintime.

Toexplainwhyandhowmiddle-classaudienceschangedtheirpublicbehaviour,wemustlookattheir“feelingrules”.Educatedpatronsinconcerthallsattheendofthenineteenthcenturystartedtodebatewhichtypesofemotionalexpressionshouldbepermitted,andwhichshouldnot.Thetaskoftheeducatedmiddle-classeswasthustodecideupontheappropriatewaystoexpressemotionsinpublic.Onecouldobserveanegotiationprocessofdifferentpublictastes,andcontrastingemotionalpreferences.Ontheonehand,onecandetectasuccessfultransferofculturalnormsandemotionalpracticesbetweenthemajorEuropeancapitals,andanalysetheemergenceofacommonEuropeancultureofmusic.Ontheotherhand,however,themusicaltastesandemotionalconservatismoftheelitestructuredimportantculturalandsocialwarsofthetwentiethcentury,includingtheestablishmentofalternativeandjuvenilemusicalculturesbeyondtheconcerthalls.

Oliver MüllerisResearchGroupLeaderoftheMaxPlanckResearchGroup‘FeltCommunities?EmotionsinEuropeanMusicPerformances’attheMaxPlanckInstituteforHumanDevelopment,Berlin.PreviouslywasattheCenterforAdvancedStudies(CAS),LMUMunich(2009–10),FellowoftheAlexandervonHumboldt-StiftungatColumbiaUniversity(2009),andFellowattheEuropeanUniversityInstitute,Florence(2006–08).Hismainresearch-interestsinclude:emotionsassocialpractices;Europeanculturalhistoryandhistoryofmusicinthenineteenthandtwentiethcenturies,politicalhistoryoftheFirstWorldWarincomparativeperspective;historyofviolenceandnationalisminNaziGermany.RecentpublicationsincludeDasPublikummachtdieMusik.MusiklebeninBerlin,LondonundWienim19.Jahrhudert(Vandenhoeck&Ruprecht,2014)andRichardWagnerunddieDeutschen.EineGeschichtevonHassundHingabe(Beck,2013).

Session 10: Music Performance

18:20–19.30 stephen grant and e21, university of melbourne

MUsical exeqUies & the seVen last WoRds

Thisconcertbyvocalensemblee21(StephenGrant,director)isbasedontwoimportant17th-centurycompositionsbyHeinrichSchütz(1585–1672):theSevenLastWords,anarrativeworkthatfollowsChrist’sfinalmomentsonthecross,andtheMusicalischeExequien(MusicalExequies),thefuneralmusicwrittenforHerrHeinrichPosthumusReussandfirstperformedatReuss’sfuneralserviceon4February,1636intheJohanniskircheinGera.

Bothoftheseworksexplorethemesthatareemotionallychargedandphilosophicallyrich:thelastmomentsofthePassion,recountedinanarrativethatpresentsmomentsofsuffering,framedbywordsofconsolationandreflection.ThePassion’smessageofhopeandcomfortiscentraltotheLutheranfaithandtobeliefsaboutdeathanddying.ItisthepositiveattitudetowardsthetransitionfromlifetoafterlifethatcreatesthecontextforthecelebrationandcommemorationoftheMusicalischesExequien.Thisworkreflectsontheconnectionofworldlylifetothehereafter,ofthetemporaltotheeternal,andisbothacommemorationofanimportantindividualandaworkthatstandsapartfromthatparticularmomenttobeusedasaGermanRequiematdifferentpointsintheliturgicalcalendar.Itscorispezzati,orpolychoraltextures,explorechoraldialogueandechoeffects.Schützarrangesonegroup,akindofotherworldlytrio,tobesetapartfromtherestofthemusicianstocreateamoredistant,disembodiedsound.Thesettingoftext,thedifferentvocalforceswithintheworkandtheimaginativeuseofspacecoalesceinwhathascometobeseenasoneofthegreatcommemorativemusicalworksofthe17thcentury.e21welcomesguestartistsSamanthaCohen,theorbo,DonaldNicolson,organ,andConsortEclectus.

Stephen grant,bass,wasborninMontreal,Canada.HebeganhisprofessionalcareerinGermany,whereheworkedwithsomeofEurope’sbest-knownearlymusicensembles,amongthemSequentia,theFerraraEnsemble,EnsembleOrganum,andtheHuelgasEnsemble,performingwidelyandmakingover30CDrecordings.StephenisHeadofVoiceandtheEarlyMusicStudioattheMelbourneConservatoriumofMusic,theUniversityofMelbourne.Heiscurrentlyresearchingvocalperformancepracticeinthemusicof17thcenturyGermancomposerHeinrichSchütz.

Stephenisalsodirectoroftheensemblee21,adiverseblendofexperiencedensemblesingersandestablishedsoloists,whichhasfeaturedprominentlyinanumberoffestivals,includingtheMelbourneInternationalFestivaloftheArts(2004,2006),theFourWindsFestival,Bermagui(2010),theCastlemaineStateFestival(2003,2007),theMelbourneAutumnMusicFestival(2002—04),theMelbourneEarlyMusicFestivalandtheOrgansoftheBallaratGoldfieldsFestival(2002–13).


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Saturday 8 August, Studio 1, Australian Centre for the Moving Image, Federation Square

Session 11: Keynote

10:00–10:45 graeme boone, ohio state university

the gRateFUl dead, the Mixolydian tURn, and ethotic ReneWal in the Psychedelic 60’s

Inthispaper,IanalyzekeyrecordingsbytheGratefulDeadtoillustratetheirlater-1960sembraceofthemixolydianmodeasanewmusical‘home’thatissimultaneouslyrootsyandrevolutionary,fulfillingaclassicfunctionalityofethos,asproclaimedbyAllenGinsbergin1961,paraphrasingPlato:‘Whenthemodeofthemusicchanges,thewallsofthecityshake.’Whenpsychedelicmusicalcultureturnedintotravelingcultureinthelater1960sand70s,theDead’sethoticturnbecameakeyfactorinestablishingtheirtransientbutcompellinghabitusinperformancevenuesaroundtheworld.Asacentralexampleofthismixolydianemplacement,weshallexaminetherecordinghistoryoftheDead’smostfamoussong,‘DarkStar,’andwatchananimatedfilminwhichitsimprovisatoryepisodesaremappedinsideofagrandanalyticalmandalathatexemplifiesitspara-spatialcosmology.

graeme BoonewasbornandraisedinSanFranciscoandattendedtheUniversityofCaliforniaatBerkeley(A.B.1976),HarvardUniversity(Ph.D.1987),andtheConservatoireNationalSupérieurdeMusiqueinParis(PremierPrix1979).HehastaughtatHaverfordCollege,HarvardUniversity,andtheOhioStateUniversity,teachingclassicalmusic,medievalandRenaissancemusic,worldmusic,jazz,hiphop,rock‘n’roll,andothertraditions,andperforminginmostofthesegenresofmusic.Hisresearchinterestsincludemedievalmusic,Renaissancemusic,twentieth-centuryAmericantraditionalandpopularmusic;rhythm,meter,andthephilosophyoftime;paleographyandthesocio-psychologyofhandwriting;Frenchlinguisticprosodyanditsmusicaltraditions;themodelingofmusicaltonalities;Dufay’smusicalstyleandchronology;andemotionsinmusic.

HispublicationsincludeUnderstandingRock(OxfordU.P.,1997),PatternsinPlay:AModelforTextSettingintheEarlyFrenchSongsofGuillaumeDufay(U.ofNebraskaPress,1999),‘MarkingMensuralTime’(MusicTheorySpectrum,2000),‘MandalasandtheDead’(TheGratefulDeadinPerformance,2010),‘TheOriginsofWhiteNotation’(Antologiadellanotazionepolifonica_II,2015),andMusicintheCarolingianWorld:WitnessestoaMetadiscipline(inpreparation).

Session 12: Acting Out

11:00–11:20 angela ndalianis, university of melbourne

the daRk knight and tRansMedia stoRytelling: taking it to the stReets

Overthelastdecadetheentertainmentindustryhasreliedonviralmarketingand,inparticular,viralmarketingasaformoftransmediastorytellingthatextendsthesinglemediumexperienceacrossothermediaand,increasingly,intothecityscapeitself.Thestrategiesofentertainmentindustriesinvolvegreateremphasisontheatricalityandperformativitywithinthepublicsphere.Inlightoftheseshifts,thenatureofstorytellingitselfneedstobereassessedinordertotakeintoaccounttheintenseaffectiveandimmersiveexperiencesofferedbytransmediality.

FocusingonthetransmediastrategiesthatcirculatedaroundthefilmTheDarkKnight,thispaperwillexploretheshiftsthatoccurinaudienceparticipationwhenstoriesmigratefromthescreenandenterthedomainoftheurbanlandscape.Thefocuswillbeonhowthetransmediaeventsassociatedwiththisfictionaluniversereliesontheblurringofboundariesthatseparaterealityandfiction.Thispaperwillexplorehowpublicspace,andtheInternetandsocialmediacommunicationsystemsthatareintegraltoitsoperations,becomeaplaygroundthatplacesintenseemphasisonfanemotionsandperformativity.

Angela NdalianisisProfessorandHeadofScreenandCulturalStudiesattheUniversityofMelbourne.Herresearchfocusesonentertainmentmediahistoryaswellasthetranshistoricalandtransculturalnatureofthebaroque.HerpublicationsincludeNeo-BaroqueAestheticsandContemporaryEntertainment(2004),TheHorrorSensorium:MediaandTheSenses(2012),ScienceFictionExperiences(2009)andTheContemporaryComicBookSuperhero(editor,2008).Shehasalsopublishednumerousessaysinjournalsandanthologies,andsheiscurrentlyworkingontwobooks:Batman:Franchise,MythandSuperheroandRobotsandEntertainmentCulture.


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11.20–11.40 ben gook, university of melbourne

ecstasy and the (coUnteR) PUblic sPheRe: geRMany, 1989–1990

AroundthefalloftheBerlinWall,electronicmusictookonanewroleinthelivesofmanyeasternandwesternGermans.Rave’secstaticformsoonattractedmassaudiencesfromeasternandwesternEurope.By1997,theannualLoveParadeinBerlinsawonemillionpeopledancinginthecity’sTiergarten.Drugusewasastrongfeatureofitsmainstreamandundergroundcultures.ThispaperwillthusexplorethedualsensesofecstasyaroundGermanre-unificationandelectronicmusic,andwillconsiderhowthissubculturemovedintomassculture,whereonewasacounterpublicsphereandtheotherthepublicspherewritlarge.

Ecstasyrelatestosomekeyconcernsabouttranscendenceandimmanence,interiorityandexteriority,withdrawalandextension.Inthissense,ecstaticmomentsreconfiguresubjectsandspaces.Ecstasy,followingKatrinPahl’swork,isanexcellentmodelofunsettlingdistinctionsbetweeninsideandoutside,aswellaswithinandbetweensubjects.Itopensthesubjectandcanmakethemvulnerable,disorganisingandre-organisingsensesofself.Thisopeningontonewshapesoftheselfis,itseems,thedrawofecstaticexperience.Ecstasyopensbarriersandremovesbordersforsubjects—andforspontaneouscommunities,catalysingwhatSimonReynoldscalls“astrangeandwondrousatmosphereofcollectiveintimacy,anelectricsenseofconnectionbetweencompletestrangers.”Ingroups,itmayspawnanintimacy,asenseofconnection,perhapsrecalling,amongothermoments,thosespontaneousembracesattheBerlinWallin1989;inindividuals,itmayspawnanalienationordistancefromone’sidentityandself,anintoxicatingdisinhibition.

Thispaperwillaccountforthedrawofecstaticexperiences(withandwithoutdrugs)inthedecadearoundthefalloftheWall,butwilldosowithalongerviewtothehistoriesofecstaticexperience(mystical,religious,aesthetic,pharmacological)anddebatesaboutpublicspheres.Itwilllookattheimportanceofplace—thegatheringofbodiesandbuilt-environmentinfluences—forvariouslycapturing,invoking,instilling,inspiringandblockingthefeelingofecstasy.

Ben gookisanAssociateInvestigatorattheARCCentreofExcellencefortheHistoryofEmotions,UniversityofMelbourne.Hehastaughtpsychoanalysis,socialtheory,sociology,politicalanalysisandculturalstudiesintheSchoolsofSocial&PoliticalSciencesandCulture&CommunicationatTheUniversityofMelbourne.Hehaspublishedoncommemoration,memory,film,psychoanalysis,ideologyandGermanculture.HisfirstbookDividedSubjects,InvisibleBorders:Re-unifiedGermanyafter1989isforthcomingwithRowman&LittlefieldinSeptemberaspartoftheirPlace,Memory,Affectseries.

11:40–12:00 sean redmond, deakin university

in the eVent: an UnRUly liFe liVed thRoUgh daVid boWie

DavidBowie’smusichasbeeninformedbyhispassionforperformanceandcreativity.Bowie’sexperienceswiththeatre,film,acting,mimeandwritingcreatedafluid,transgressiveidentitythatimpacteddramaticallyongivingbirthtooneofthemostinspirationalcelebritiesofthemodernera.Hispublicpresencespoketoauniqueemotivepower,whichwaslinkedtohisfascinationwithhisownidentityconstruction,and,inturn,haddramaticroletoplayontheindividualidentitiesofthethousandsoffanswhoadoredhim.

Drawinguponauto-ethnographyandsensoryaesthetics,IwillmakesenseofmyunrulylifethroughthewayBowie’smusicalandfilmworkhasimpacteduponmysenseofselfandbelongingintheworld.Icanrememberandrecallmajorlifeeventsandstingingmemoriesthroughhissongsandperformances.BowiehasprovidedwhatIhaveelsewheredefinedasthestarmetronome,providingmewiththepsychological,existentialandphenomenologicalrhythmsoutofwhichbarelifeemerges,blossomsandsometimeswithers—itsbeatnotlinearorsingularbutirregularandamplified.Imakesenseofthesewaywardlifestoriesthroughrecalltothesenses,andsensorialmemory,rememberingBowiethroughtouch,texture,sightandsound.Mypresentandpast,myhereandnow,thisthereandthenbornoutoftheswimmingtidesofaremarkablyfantasticvoyage.

Sean redmondisanAssociateProfessorinMediaandCommunicationatDeakinUniversity.Hehasresearchinterestsinfilmandtelevisionaesthetics,filmandtelevisiongenre,filmauthorship,filmsound,stardomandcelebrity,andfilmphenomenology.HisbookpublicationsincludeTheCinemaofTakeshiKitano:FloweringBlood(2013),CelebrityandtheMedia(2014),EnchantingDavidBowie:Space/Time/Body/Memory(editorwithToijaCinqueandChristopherMoore,2015),andwithSuHolmesheeditsthejournalCelebrityStudies.


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12:00–12:20 Jane davidson, university of melbourne

Robbie’s the one: cReating sPaces FoR PUblic Passion and PRiVate PeRsUasion

AcrossthehistoryofWesternculture,music’sfunctionhasbeenbroadlyassociatedwithcatharsis,orthepurificationofthesoulthroughaffectiveexperience,andmimesis,orthetransformationofexternalreality.Thispaperexaminesthesetwoconceptsthroughthelensofasingleperformancebypopsinger,RobbieWilliams.Hisperformanceimpactstheaudienceinawaythatproduceswhatmightbeconsideredasacollectivespiritualhigh,offeringacommunalaffectiveexperience—atransformationofreality.

ThepaperalsoexploreshowRobbieWilliamscreatestwodistinct‘spaces’throughwhichtheaudienceaccessdifferenttypesofemotionalexperience:inthefirst,hisenergyandintensitycreateaspacethatsummonsgroupparticipationwhereWilliamsperformsforandwithhisaudience.Inthesecondhejoinstheprivateworldofacouple,thusmakingtheirintimacypublic,sharingtheirexperiencewiththemassaudienceandsoappropriatingthepowerfulprivateemotionsofarelationshipforamassaudience,generatingachargedsitefortheperformativityofemotion.

SimonFritheloquentlyarticulatesmanyoftheoverlappinglayersofexperienceinpopmusicperformanceinhisseminaltext,PerformingRites(1994).ThecurrentpaperadoptssomeofFrith’sideas,butmovesbeyond,drawingontheframeworkofferedinhistoryofemotionsworkwhereemotionisnotonlyrecognisedasincorporatingneurophysiologicalactivation,motorexpression,andsubjectivefeelings,butcrucially,ofemergingoutoflong-standingandevolvingculturalpractices.Additionally,thattheemotionsthemselvesarecreatedthroughaction.Theparticularsongunderinvestigationis‘She’stheOne’,amegahitforWilliamsin1999.ThisperformancecomesfromaDVDofhisconcertWhatWeDidLastSummer:RobbieWilliamsLiveatKnebworth,EMI7243-599209-9-3,2003.

Jane davidsonworkedasapostdoctoralfellowatKeeleUniversity,beforeholdingtenuredpostsatCityUniversityLondonfollowedbySheffieldUniversity,UK.MovingtoAustraliain2006,shewasCallaway/TunleyChairofMusicatUWApriortobecomingProfessorofCreativeandPerformingArtsattheMelbourneConservatoriumofMusicinMarch2014.Since2011shehasbeenDeputyDirectoroftheAustralianResearchCouncil’sCentreofExcellencefortheHistoryofEmotions.ShehasservedasPresidentoftheMusicologicalSocietyofAustraliaandbeenVicePresidentoftheEuropeanSocietyfortheCognitiveSciencesofMusic.Widelypublished,herresearchinterestsarebroadlyintheareaofperformanceandpsychologyofmusic,embracingresearchfrommusicaldevelopmentthroughtoreflectiveperformancepractice.

12:20–13:00 closing discussion

Thegroupwilldiscusskeyoutcomesofthecollaboratory.

acknoWledgeMents

Thecollaboratoryorganiserswishtothankthefollowingfortheirinvaluableassistance:

• LeanneHunt• JessicaScott• SophiaRobinson• PenelopeLee• FredKiernan• PamBond• KieranO’Shea• LucyBurnett• JohnBedovian• Administrativeandcateringstaffatthe

CentreforTheology&MinistryinParkville,• HelenSimondsonatACMI

PractisingEmotions:PlaceandthePublicSphere collaboratory

TheARCCentreofExcellencefortheHistoryofEmotionspresents

Practising Emotions: PlacE and thE Public sPhErECollaboratoryProgram

6-8August2015

WyselaskieAuditorium,CentreforTheology&MinistryStudio1,AustralianCentrefortheMovingImage(ACMI),FederationSquare

Practising Emotions: PlacE and thE Public sPhErE Emotions: PlacE and thE Public sPhErE ......

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