NiTRO Creative Matters

Perspectives on creative arts in higher education

Internationalisation

In late June 2017, 10 undergraduate students from the Tasmanian College of the Arts (TCotA), University of Tasmania, along with myself and colleague Lucy Bleach will undertake a 3–week international field trip covering 4 cities to experience a once-in-ten-year alignment of Documenta 14 and the Münster Skulptur Projekte.

Just this week, I was invited to participate in a seminar on Pacific art and activism, in which I had the honour of standing alongside some truly magnificent Pacific Islander artists who are engaged in the academy, but who also produce creative works that question and confront the epistemological assumptions

“Have a great day: successful, whatever that means.” Christoph Dahlhausen gave me this order a few minutes ago—a sentence punctuated with the door swinging shut behind him as he left for a meeting. Christoph is an artist in residence, but not an artist in residence at RMIT - he is

As filmmakers and film teachers we share neither an aesthetic nor an ethic. Even more tragically we make films and teach others to make them without relating the one to the other. How the practice became separated from the purpose or the aesthetic from the ethic, predates the invention of

The global classroom project launched in 2013 and so far over 450 students in London, Hong Kong, Singapore and Vietnam have supported each other’s learning by sharing resources and providing local research as well as peer reviewing each other’s work facilitated through a private Facebook group.

The 2006 World Congress on Arts Education, held in Lisbon, Portugal resulted in an important document for arts education- the UNESCO Roadmap for Arts Education. Reflecting UNESCO’s themes of access and equity, its main aims were to: uphold the human right to education and cultural participation; develop individual capabilities; improve