![]() ![]() And the parents who were least visible were not necessarily marginalised from the school but believed that the school was addressing the education of their children, and that the leadership of educators could be depended upon to get the job done, rendering forthright ‘engagement’ unnecessary. The parents who were most visible were not necessarily engaging for reasons of academic advancement or schooling success but over concerns about bullying or truancy or social trauma. Suffice to say, parents’ visible engagement with schools and the importance they place on education are different matters. Our research revealed a dissonance between what parents expect their level of engagement with school should be and what the policy community assumes about the importance of engagement. The questions we asked all participants in this study probed three key questions: What does engagement mean? Why is it important? How is it achieved? In-depth interviews were conducted with 48 parents and/or carers, 9 policy officers and 26 educators. We observed children, parents and school environments interviewed parents, teachers, policy personnel and school based staff and conducted focus group sessions with key stakeholders. The research applied an exploratory case study approach using a mix of ethnographic and interview techniques. Undertaken over a three year period between 20, the research team worked in partnership with The Smith Family and participating schools- Karama Primary School in Darwin Moulden Park Primary School in Palmerston and MacFarlane Primary School in Katherine-to explore what parents have to say about the schools that their Indigenous children attend and about education more broadly. Over the next few weeks, I will be adding to the site further with with errata, addendums, segues and documentation of the live work as time and health allows.This report explores school-‐parent engagement in three town-‐based schools in the Northern Territory of Australia. Instead, I’m interested in the way they layer, blur and complicate one another. I intend not that these two works will remain distinct, or that one will be a replacement for the other. I will be presenting my first live work for 2 years at CLAY (The Centre for Live Art Yorkshire) on the 6/8/21 - this digital bursary has bled into what will be a non-digital event. Amongst this I move my body, colliding into and rubbing up against my various forms of research. My floor, bed, desk, walls are covered with texts I’m reading, things I’ve drawn and made, objects I’ve collected, notes I’ve made, dirty clothes, unfinished cups of tea and last week’s dinner. By collecting together primary, secondary and tertiary research I’ve been trying to allow myself to receive and listen, rather than focusing on creating and to prepare myself to channel, rather than worrying about producing artistic output. Generating work and thinking outside these restrictive conditions is difficult. The economic reality for me as a medicalised transgender artist currently accessing healthcare through predatorily expensive private streams means I cannot afford a studio. ![]() I was drawn back to conversations I had with my good friend and collaborator Helen Davidson about how singing is just as much about listening as it is about making noise and began thinking about silence. Following on from this, I wanted to speculative on ways sound might emerge from or be received by our bodies.Īs time went on, I’ve taken numerous breaks to adjust to transition medication and realised I had little will to contribute to more noise around protest, anger and frustration. ![]() If "the body is both a site of political imposition, as well as a field from which the political emerges" (Léann Herlihy, Artist), then the body must have holes of flesh tunnels for the political to spill out of/allow entrance into. Further to this, to think through what a political gesture or vocalisation might sound like when it doesn't engage with (spoken) language, yet travels through the body. My initial thoughts for this project were around the state of the body in protest, how the stresses of now might effect us and be released from the body. ![]() Sketches for clay appendages, Ro Hardaker, 2021 ![]()
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