Orchestral Luminescence

• Main Author: Morris, Peter
• Format: Other/Unknown Material
• Language: unknown
• Published: 2022
• Subjects: Music performance; 360304 Music performance; 360302 Music composition and improvisation; 360502 Computer gaming and animation; 3605 Screen and digital media; Griffith; Queensland; Iceland
• Online Access: http://hdl.handle.net/10072/414904

On March 17 2022, a regional arts event featuring a collaboration between the Queensland Conservatorium Griffith University (QCGU), Queensland Symphony Orchestra (QSO), Griffith Film School (GFS) and Queensland College of Art (QCA) took place in Longreach, Queensland. The event was curated and conducted by Associate Professor Peter Morris, with colleagues from Griffith’s creative arts schools also featured student, alumni and faculty work. This was a ground-breaking collaborative interdisciplinary live event, where live orchestral performance, film, animation and an exhibition of wearable art were presented for a live audience. The research contribution of Orchestral Luminescence included original collaborations between artists. Beyond the content presented, this event was unprecedented and unreservedly unique in that it was curated specifically for the outdoor airpark at the Qantas Founders Museum in Longreach. The backdrop for all performances was the decommissioned QANTAS 747, which also served as a canvas for films to be projected on. The featured work was a live symphonic performance by a combined orchestra of QCGU and QSO musicians, synchronised with the digital airshow that is performed in the park every night. This required new orchestrations from the composer in Iceland, with further arrangements by a QCGU postgraduate student in New York, and a welcome voiceover from the local indigenous representative of the traditional Iningai land owners. As a performer, educator, researcher and collaborator the intent of this research was to collaborate with meaning, and to publicly showcase the potential of inter-disciplinary art forms in a regional setting. The performance attracted significant peer review in the traditional media, as well as feedback via email, phone discussions and social media. Local, national and international impact has followed as this event has been shared as a model of undertaking meaningful regional collaborative arts engagement. No Full Text