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Arts Education 2016    Welcome to our annual arts education feature, an informal survey of issues, courses, teachers, works and students over coming weeks. As a prelude, WAAPA’s Jonathan Marshall reports on the 2016 Performance Studies International Conference hosted by the University of Melbourne and Rennie McDougall at NYU addresses the complexities of positioning himself as a critic, reflected in Sally Smart’s The Choreography of Cutting (above). In our next E-dition Erin Brannigan describes the workings of her new Reviewing the Arts course at UNSW and Christopher Ryan reflects on the nurturing of performers at the University of Wollongong. Join us in this celebration of the making of a new generation of artists.

Keith and Virginia
PERFORMANCE STUDIES INTERNATIONAL 2016   In Melbourne, Bruno Latour, Peta Tait and Rebecca Schneider re-estimate art’s relationship with the non-human world with ramifications for attitudes to the environment and ourselves, writes Jonathan Marshall.
Occupy Culture
OCCUPY CULTURE, RIO  Ann Deslandes reports from Rio de Janeiro, site not only of the 2016 Olympics but also Ocupa MinC, a significant, protracted occupation by artists of Brazil’s Ministry of Culture.
MUSIC MAGIC IN BENDIGO     For his 2016 Bendigo International Festival of Exploratory Music, David Chisholm programs a piano-triggered orchestra, ELISION ensemble, a junk opera and wall-of-sound ritualistic noise.
CRITICISM & ITS CONFLICTS      As he commences a Masters of Journalism in Cultural Reporting and Criticism at NYU, Australian dance artist and writer Rennie McDougall ponders contradictions inherent in arts reviewing.
Zoey Dawson’s Conviction and THE RABBLE’S Cain and Abel propel John Bailey to reassess a too-easily dispensed critical cliché.
A Perfect Specimen
In WA playwright Nathaniel Moncrieff’s A Perfect Specimen, a showman exploiter is the aberration rather than his exploited wife, a renowned 19th century “human ape,” writes Jonathan Marshall.
Leah Scholes
Leah Scholes and Phoebe Green pair to perform works by some of Australia’s most inventive composers, writes Matthew Lorenzon on the Partial Durations blog.

RealTime E-dttions are published by Open City an Incorporated Association in New South Wales. Open City Inc is supported by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy [VACS], an initiative of the Australian, State and Territory Governments. RealTime’s Principal Technology Partner is the national communications carrier, Vertel.

Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher. 

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