🗂️ [[Indices]] # Published Works 📰 **A non-exhaustive repository of my publications.** 🕵🏻‍♂️ *Repository* ✍🏻 [[Jeremy Neideck]] ![[Published Works.svg]] ## Publications ### [[Queer(y)ing the Australian Way of Life]] Jeremy Neideck (2023) In *New Platform Papers Volume 3: The Arts and Soft Diplomacy*, Currency House There is something queer about living in so-called Australia. There are patterns of potential for ‘the Australian way of life’ encoded in the work of queer performing artists who seem to be engaging in a project of nationhood as creative practice. This paper considers the work of three contemporary queer performance makers: Joel Bray, Justin Shoulder and Sarah Stafford and how their creative practices and processes align through their powerful ability to destabilise the cis-straight nation fantasy of Australia. [[Queer(y)ing the Australian Way of Life|Read an extract of the paper here]]. ### "We Need to Keep One Eye open…" Approaching Butoh at Sites of Personal and Cultural Resistance Jeremy Neideck (2018) In *Routledge Companion to Butoh Performance* Edited by Bruce Baird and Rosemary Candelario Published in the first reference volume on the subject of butoh performance in the English language, this chapter is written from multiple perspectives as director, performer, and researcher. It reflects on the complexities of transcultural collaboration as manifested during the *Deluge* project. [Available here](https://www.routledgehandbooks.com/doi/10.4324/9781315536132) ### [[The Cost of Cultural Ambition]] Jeremy Neideck (2016) *Investing in Cultural Leadership*. Currency House. In 2016, Jeremy was selected to participate in the Currency House *Investing in Cultural Leadership* Program. Under the mentorship of Professor Judith McLean, he wrote this essay which suggests ways that performing artists might build audiences and increase demand for their work by adopting inherently transcultural processes and engaging meaningfully with their communities, rather than rely on institutions that lack the imagination to honour their commitments to diversity. [[The Cost of Cultural Ambition|Available here]] ## Journal Articles ### Growing Trees of Culture: Using Appreciative Inquiry and Embodied Placemaking as Strategies for Self-regulation inside the Conservatoire Andrea L. Moor, Jeremy Neideck, Jeanette Fabila, and Margi Brown Ash (2022) *Performance Research*, 27:6-7, pp. 229-237 Available: https://doi.org/10.1080/13528165.2022.2198870 This paper outlines ways in which Appreciative Inquiry is employed in collaboration with forms of embodied placemaking facilitated by senior Indigenous Australian artists in QUT’s actor training program. These strategies are used to model respectful relationships; to empower cohorts of student actors to negotiate boundaries of consent and outline their own behavioural expectations; and to enable academics to provide continuity of care in uncertain times. %% Neideck, J., Stoneham, N., Park, Y., & McKeague, M. (in press) *“We’ll meet you underground”: transcultural performance practices in queer space and time.* Q2 Journal. With their bilingual music theatre work *Jiha Underground*, Company Bad strives toward the transcultural ideal of modelling new and collaborative social realities through the methods of art production. With the look and feel of a cramped dive bar that you might stumble upon during a wild night out in Seoul, *Jiha Underground* is a refuge for those who are unwelcome in heteronormative spaces and its spatiotemporality supports a queer dramaturgy where performers present and re-present themselves in multiple, fluid realities. Loth, Jo. & Neideck, Jeremy. (2022) *[[Jo Loth, Jeremy Neideck - The Art of Experiencing Reflective Appreciative Actor Training Towards Well-Being, Artistry, and Personal Agency|The art of experiencing: Appreciative actor training for developing well-being, artistry, and a ‘glowing individuality’]]*. Theatre, Dance and Performance Training. Available: https://www.tandfonline.com/eprint/MHTB85T3DWESHUXCVGRQ/full?target=10.1080/19443927.2022.2052172. This article draws on qualitative data gathered during research workshops that explored embodied learning through the Suzuki Method of Actor Training and Linklater Voice. In it, the authors propose forms of resistance to neoliberal educational trends by developing performers’ well-being and artistry by suggesting a pedagogical approach they identify as Reflective Appreciative Education. Neideck, J. & Kelly, K. (2021) *A special relationship: a broad survey of Japanese performance training methodologies’ influence on Brisbane actor training since the 1990s.* [Theatre, Dance and Performance Training](https://www.tandfonline.com/doi/full/10.1080/19443927.2021.1943507). This article traces the adoption of Japanese actor training in South East Queensland, and in particular, the methods and complex legacies of Tadashi Suzuki. This influence has been felt in most of the actor training academies in Brisbane, and actor training provided by artists and independent companies. This culture of physical training has had a profound impact on the making processes and distinctive repertory of the city. Park, Y., Neideck, J., & Heim, C. (2021) *Traditional Korean Audiences and their Protest in the Madang Then and Now.* [Critical Stages](https://www.critical-stages.org/24/south-korean-audiences-and-their-interactive-performance-in-the-madang-then-and-now/). This article gives an overview of the interactive role of traditional theatre audiences since the Joseon Dynasty (1392–1897) in the public square of the *madang*, before exploring how contemporary Korean audiences perform a collective and interactive “we” inherited from this historical audience behaviour by considering the *Plaza Theatre festival in the Black Tent*, a response to the conservative Korean government blacklist of 2016-2017. Kelly, K., Rixon, T., Neideck, J., Pike, S., & Brumpton, A. (2021) *Dark Mountain: Scenography for the end of the world and a more-than-human future.* [Theatre and Performance Design](https://www.tandfonline.com/doi/full/10.1080/23322551.2021.1996105). Weaving together the collective experience of several Australian scenographers and dramaturgs, this article examines how performance-making practices and scenographic design processes can be re-shaped by our deepening understanding of the ecology that surrounds us. Neideck, J., Kelly, K., Pike, S., & Henry, K. (2021) *The Iconography of Digital Windows – Perspectives on the pervasive impact of the Zoom digital window on embodied, creative practice in 2020**.* [Body, Space & Technology](http://doi.org/10.16995/bst.365). For many theatre directors and teachers, the window of our eyes has become our primary creative and pedagogical tool, gazing within the edifice of Zoom, a technology built by the intersection of interlocking digital windows, their meaning created by the witnessing gaze of the participants. Drawing from the practice of four teacher-artists this article explores the iconography of the Zoom window, and its specific qualities at the intersection of body and technology. Pike, S., Neideck, J., & Kelly, K. (2020) *‘I will teach you in a room, I will teach you now on Zoom … ’: A contemporary expression of zooming by three practitioner/academics in the creative arts, developed through the spirit of the surrealist’s exquisite corpse.* [International Journal of Performance Arts and Digital Media](http://doi.org/10.1080/14794713.2020.1822048). This article is a collective of three intersecting contributions that are studied, shared, and zoomed, from one to another and back again, successively built upon and developed, to generate a thematically linked collection of thoughts and offerings inspired, enacted, and enabled by zooming. Park, Y. & Neideck, J. (2020) *A Single Drop of Water: Vulnerability, Invisibility, and Accountability in South Korean Theatre’s Moment of Crisis.* [Performance Paradigm](https://www.performanceparadigm.net/index.php/journal/article/view/228). In South Korea, public performances of grief, allyship, and holding the government to account are hallmarks of democratic transformation. In this article, Park Younghee tells parts of her story to long-time collaborator Jeremy Neideck, and they attempt to weave a coherent narrative out of their yearlong discussion about the social, cultural, and political histories of Korea. ## Conference Papers Neideck, J., Kelly, K., Pike, S., Rixon, T., with Cornwell, K., and Rose., M. (2021, 8-9 October) *Bedroom Spectacles: New possibilities for collaboratively devised performance inside Zoom’s “window of opportunity”.* Changing Perspectives on Live Performance: interrogating digital dimensions and new modes of engagement. Anglia Ruskin University, United Kingdom. ## ⛵️ Log - 🖋️ %% # **Created**: [[2024-05-03|Friday 03 May 2024]] **Published**: [[2024-05-04|Saturday 04 May 2024]] **Updated**: 21:17 [[2024-05-05|Sunday 05 May 2024]] %% # Text Elements # Drawing ```json { "type": "excalidraw", "version": 2, "source": "https://github.com/zsviczian/obsidian-excalidraw-plugin/releases/tag/2.1.4", "elements": [], "appState": { "theme": "light", "viewBackgroundColor": "#ffffff", "currentItemStrokeColor": "#1e1e1e", "currentItemBackgroundColor": "transparent", "currentItemFillStyle": "solid", "currentItemStrokeWidth": 2, "currentItemStrokeStyle": "solid", "currentItemRoughness": 1, "currentItemOpacity": 100, "currentItemFontFamily": 1, "currentItemFontSize": 20, "currentItemTextAlign": "left", "currentItemStartArrowhead": null, "currentItemEndArrowhead": "arrow", "scrollX": 428, "scrollY": 432.828125, "zoom": { "value": 1 }, "currentItemRoundness": "round", "gridSize": null, "gridColor": { "Bold": "#C9C9C9FF", "Regular": "#EDEDEDFF" }, "currentStrokeOptions": null, "previousGridSize": null, "frameRendering": { "enabled": true, "clip": true, "name": true, "outline": true } }, "files": {} } ``` %%