Journal & Book Publications

Fitzmaurice Voicework was inspired by yoga, shiatsu, and bioenergetic psychotherapy, and its methods include releasing patterns of habitual holding within the viscera causing an autonomic response known as a tremor. Training in Kalaripayattu, an ancient South Indian martial art, is a preparatory tool for the body to develop a kinesthetic awareness: an organic ability to be in the optimal state of readiness. In the process of defining our research findings, we created a systematic methodology that consisted of four stages: 1) Studio training combining Kalaripayattu and Fitzmaurice Voicework; 2) Training with Kalaripayattu masters in Kerala, India; 3) Experimentation and exploration of the two forms of collaborative training; and 4) Analysis and dissemination of findings at a conference of the Voice and Speech Trainers Association London Conference. This systematic approach provided us with the framework to answer our research questions: 1) Can combining techniques from Kalaripayattu and Fitzmaurice Voicework lead to an effective new cross-cultural methodology for professional actor training? 2) What kinds of psychophysical and somatic affect can arise from the combination of these two forms?

Citation:
Roza, Elizabeth de and Budi Miller. "The Lion and the Breath: Combining Kalaripayattu and Fitzmaurice Voicework Techniques Towards a New Cross- Cultural Methodology for Actor Training." Journal of Embodied Research, vol. 1, no. 1, 2018, doi:10.16995/jer.6.

This paper examines the unique positioning of fashion education in Southeast Asia and the significance of redefining the impact of fashion through experiences of disruption, displacement and discomfort. As the field of fashion continues to extend into neighbouring disciplines of design and related industries, the student learning experience needs to respond with rigorous enquiries that confront existing notions of fashion as both a system and means for innovation. The case-studies included in this paper reconcile the challenges of developing an Asian design language in Southeast Asia against a retail landscape dominated by Western fashion.

Citation:
Henestrosa, Circe, and Harah Chon. ''Learning through Disruptive Interactions.'' Proceedings of REDO Cumulus, Design School Kolding 06/2017, edited by Anne Louise Bang, et al., Cumulus, 2017, pp. 481-488, ISBN / ISSN: 978-87-93416-15-4.

A research frame was conceived to support the aims of the encounter to raise awareness of intercultural issues and themes to inform the teaching and learning -and- the theory and practice of art therapy in the contexts of Singapore and London. The purposeful image reflection led to dialogue relating to training practices and pedagogy, intercultural awareness and insight, and ways to enhance a sustaining collaborative relationship between the two programmes. The student trip was rich and holds great possibility for further investigation into culture and, indeed, into finding spaces and making places. Through images we will present some reflections and insights, including the directions for this exploratory research project.

Citation:
Lay, Ronald, et al. “Singapore – London, Intersubjective Discoveries: An Intercultural Experience Between Two Art Therapy Training Programmes Using An Art-Based Approach.” ATOL:  Art Therapy OnLine, vol. 8, no. 1, 2017, pp. 1–19, doi: 10.25602/gold.atol.v8i1.433.

In Spangler’s attempt to avoid being culturally offensive, his stage adaptation remained ‘truthful’ to the novel, a form of fidelity to the source. I further suggest that fidelity is, perhaps, one American adaptor’s way for America, in the novel’s words, to be ‘good again’ to Afghanistan.

Citation:
Chow, Edmund. “Adapting for ‘The Kite Runner’: A fidelity project to reimagine an Afghan aura.” Contemporary Approaches to Adaptation in Theatre, edited by Kara Reilly, Palgrave Macmillan, 2017, pp. 161-74.

In all countries where arts therapy has evolved, there have been significant challenges inherent in establishing and developing a credible professional identity. Such identity and recognition applies not only to how we view ourselves but also, importantly, to how we are viewed by the public, by other professions and by governments. A healthily developing professional association is a vital component of any emerging profession, and grows in tandem with a dynamic and developing practice, with rigorous standards of training within solid theoretical frameworks, with an adherence to ethical guidelines, and with an evolving research culture. As arts therapy gains momentum across the globe, specifically within this geographical area, the profession is coming of age – providing exciting opportunities for interdisciplinary collaborations where differences and diversity are acknowledged, embraced and integrated. The link that connects us all is the healing power of the creative process and the recognition of its vital importance to our lives and wellbeing.
Citation: 
Joanne Kelly, Amanda Levey and Ronald Lay. “Forwarding arts therapy in South East Asia.” Creative Arts in Education and Therapy: Eastern & Western Perspectives, vol. 3, no. 1, 2017, pp. 14-25. 

This illogical market denial stems in part from Canada’s preference for housing Creative Writing educations within English departments, who are hostile to creativity and living Canadian writers. Canada pays national economic, social, pedagogical and aesthetic consequences for its globally anomalous disinterest in Creative Writing doctoral programmes.    
Citation:
Whetter, Darryl. “Can’t Lit: What Canadian English Departments Could (but Won’t) Learn from the Creative Writing Programs They Host.” New Writing: The International Journal for the Practice and Theory of Creative Writing, vol. 11, no. 1, 2017, pp. 316-326.

Through an iterative design process, we have enhanced existing technical implementations such as wireless data transfer, battery lifespan, two-way communication and data analysis including machine-learning techniques. We conducted object-making sessions and developed software prototypes for audio and visual feedback. We explored a range of experiments related to visual arts, dance, and music by attaching the Twiz to different types of objects to allow users to carry out impromptu interactions. As a result of this process we have gained a better understand of an object’s expressive potential whilst capturing and analyzing its movement.    

Citation:
Schlegel, Andreas, and Cedric Honnet. “Digital Oxymorons: From Ordinary to Expressive Objects Using Tiny Wireless IMUs.” 4th International Conference on Movement Computing, 28-30 June 2017, New York, edited by Kiona Niehaus, Association for Computing Machineries, 2017, doi: 10.1145/3077981.3078040.