Experience history in action, how human emotions have changed over the centuries, and the impact it has had on Australia today.

5 October 2017

From the Director

Andrew LynchAustralia is undertaking a pilot study this year on the impact of university research outside academia. The government announcement stated that it was ‘to ensure that taxpayer funds were being targeted at research and initiatives that would ultimately pay dividends for Australian young people, old people, mums and dads’. Looking around our Centre’s recent and current activity, it seems clear that our public outreach is benefiting the Australian community here and now.

Discussions of community benefit from academia often treat the public as largely unwitting beneficiaries. People are seen to understand the pay-offs – in improved health, living standards or technology – but not the research processes that have led to them. A difference with our Centre is that the public are directly involved in the making of our outreach programs – through school incursions, surveys on music and theatre performances, art exhibitions, community workshops, history trails, and the recording of oral histories and personal testimonies of fellow Australians. For CHE, it is a process of listening as well as talking, with members of the public informing us about emotions, both through their own experiences and through their reactions to the research we share with them.

One could hardly find a better example of that two-way process than the CHE/Full STEAM workshop on ‘Treasured Possessions’ for primary school students, bridging the emotions of old and young in the community. Another wonderful recent instance has been the co-operation of Indigenous musician Jessie Lloyd and a Dutch ethnomusicologist in a reconciliation workshop on Aboriginal mission song collections. In ways like this, CHE is learning from, and working with, the Australian public to bring our common emotional history into wider consciousness.

I could easily add many other references to CHE research-based outreach, such as Andrea Bubenik’s curation of the current ‘Ecstasy: Baroque and Beyond’ exhibition at The University of Queensland, or Jane Davidson’s direction of The Tale of Orpheus. It is often forgotten that more Australians attend art shows and concerts than they do sporting events. CHE recognises that these cultural activities, and others like them, are areas in which the public are already strongly engaged with the interests of humanities academics, and specifically with emotions. We find them ‘reaching out’ to us.

I am very proud that CHE’s long-term involvement (2012–2016) with the Zest Festival in the Kalbarri area of Western Australia has been recognised by a nomination in the CHASS Australia prize for ‘Distinctive Work’. It seems a sign that amongst the many extraordinarily productive ARC Centres of Excellence with whom CHE keeps company, our public engagement can be regarded as truly ‘distinctive’.

Andrew Lynch
Director, ARC Centre of Excellence for the History of Emotions

The Tale of Orpheus: A Great Success

The Tale of Orpheus. Copyright Sarah WalkerBy Emma Miller (Communications and Media Officer, The University of Melbourne)

A five-star review in the prestigious
Limelight Magazine capped off a fantastic two-night run of Jane Davidson’s The Tale of Orpheus in Melbourne in early September.

Another successful collaboration between CHE and the Melbourne Conservatorium of Music (MCM),
The Tale of Orpheus saw Italian Baroque composer Claudio Monteverdi’s 1607 masterpiece L’Orfeo – considered by many to be the first ‘true’ opera – brought to life before almost 700 attendees at the atmospheric Meat Market Theatre on 7 and 8 September 2017.

Under the artistic direction of Jane Davidson, head of CHE’s Performance Program, and with Helpmann-award-winning musical director Erin Helyard leading an orchestra of beautifully crafted period instruments, The Tale of Orpheus explored the extreme emotional landscapes of one of the most influential and beloved operas of all time.

Highly respected baritone David Greco was mesmerising in the role of Orpheus, and a cast of fine singers from the MCM injected energy, verve and enthusiasm into their support roles.

Davidson said she decided to stage L’Orfeo this year to commemorate the 450th anniversary of Monteverdi’s birth and celebrate his incredible legacy.

“Monteverdi was a musical visionary and his L’Orfeo was really the first example of a fully formed opera, seamlessly blending theatrical drama, music and singing,” she said.

“Our production explored historical ideas about music’s relationship to the planets, and to mood regulation, through innovative staging, direction and other design elements. I wanted the audience to come away with a greater appreciation not only for Monteverdi’s wonderful opera, but also how it represents an important shift in the way people thought and felt in the past.”

The reviewer in Limelight Magazine wrote that she was ‘amazed how this project intertwines research, performance and education to create a fertile ground for creative collaboration and innovation’.

Classic Melbourne noted the ‘incredibly profound, creative and talented partnership’ of CHE and MCM and praised Professor Davidson’s ability to ‘mount a production that is richly layered, deeply felt and highly associative. It expands the understanding of the human condition’.
To learn more about the creative process used in this production, click

‘Ecstasy: Baroque and Beyond’

Image: Nigel Milsom, Judo House Part 6 (the white bird) 2014–2015, oil on linen, Collection of Art Gallery of New South Wales. Contemporary Collection Benefactors 2015, with the generous assistance of Alenka Tindale, Peter Braithwaite, Anon, Chrissie & Richard Banks, Susan Hipgrave & Edward Waring, Abbey & Andrew McKinnon. Reproduced courtesy of the artist and Yuill|Crowley, Sydney.By Xanthe Ashburner (Education and Outreach Officer, The University of Queensland)

Almost four centuries after its creation, Gian Lorenzo Bernini’s Ecstasy of Saint Teresa (1652) remains the supreme emblem of religious visionary experience and of the Baroque sensibility in art.

Understanding ecstasy to encompass states of exaltation beyond the sensuous suffering of Bernini’s sculpture, ‘Ecstasy: Baroque and Beyond’ brings together older depictions of ecstasy with more recent works focused on transcendence of normal consciousness; including trances, moments of expanded awareness and visionary insight. From representations of saints and mystics, to dreamscapes and images of bacchanalian revels, the exhibition explores how Baroque style – characterised by exaggeration, high drama, extravagance, frenzy and excess – continues to inform contemporary art, both in Australia and internationally.

Curated by Dr Andrea Bubenik (UQ School of Communication and Arts and an Associate Investigator with CHE), ‘Ecstasy: Baroque and Beyond’ is the second major exhibition partnership between the UQ node of CHE and The University of Queensland Art Museum (‘Five Centuries of Melancholia’, also curated by Dr Bubenik, ran at the Museum from August to November 2014). The exhibition opened on the evening of 15 September 2017 to an audience of 450, and a public forum exploring aesthetic, philosophical and political conceptions and implications of ecstatic experience took place on 16 September. Other public programs will include the 2017 UQ History of Emotions Public Lecture in Art History, to be presented by Professor Andrew Leach on 5 October, and a concert of Baroque music on original instruments in December.

Peter Holbrook, Xanthe Ashburner and Sushma Griffin would like to extend their warmest thanks to Andrea Bubenik, and to the staff of the UQ Art Museum, for their work on the exhibition. ‘Ecstasy: Baroque and Beyond’ will run at the UQ Art Museum until 25 February 2018.

Also read The Conversation
article by

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News Reporting and Emotions

Image: Courtesy of the Wellcome Library, London: ‘An American man reads from a newspaper with amazement the latest news on the Mexican war, surrounded by an attentive group of men’ (1899) By Richard Caton Woodville after Alfred Jones.Journalists are expected to be objective and impartial, yet more and more journalists are becoming emotional during live reports. The 2017 Change Collaboratory, News Reporting and Emotions, 1100-2017 (4–6 September 2017), hosted by the CHE University of Adelaide node, used this long time period to look at how the relationship between news and emotion ebbed and flowed across time and space, why it has changed and where it might go in future.

public lecture delivered by Cait McMahon OAM (Director of the Dart Centre Asia Pacific, Melbourne) was the perfect way to start the collaboratory. She explored current psychological research on journalists exposed to traumatic events, and the emotional repercussions of such work. She also discussed self-care strategies to maintain resilience.

The next day, keynote speaker, Karin Wahl-Jorgensen (Cardiff University), explored how journalists perform emotion, not least 'righteous indignation', to hold people in power to account. She said that it is impossible to ascertain the authenticity of emotion in media, but suggested that they use a ‘strategic ritual of emotionality’ to construct news as a genre.

“When you look at mediated emotions they are completely different to emotions psychologists and philosophers talk about. By outsourcing emotional labour, journalists can be objective, but keep emotions as part of the story.“

Journalists use emotion, but they also feel. Helen Vatsikopoulos shared her experience reporting on the Rwandan Genocide of 1994 when working for Dateline. “Telling the story through characters (videographer, journalist, editor, sound person) highlights how journalists transformed themselves after engagement with traumatic news reporting”, she said. Penny O’Donnell focused on how journalists have to be emotionally agile when faced with the evolution of news reporting, and the prospect of losing their jobs.

Keynote speaker, former CHE Postdoctoral Research Fellow, Una McIlvenna’s (The University of Melbourne) talk showed that right from the early beginnings of ‘media’ in the form of news ballads, the public didn’t trust the ‘broadcasters’ of the news. Ballads were sensationalist and provocative, and repeatedly announced that they were new and true.

Other papers also demonstrated the emotional power of the media in the early modern period. Abaigéal Warfield revealed how news reports in early modern Germany created fear of witches’ weather magic. Three papers on eighteenth-century news demonstrated the importance of emotions to interpreting crime, politics and the media itself.

Charlie Beckett’s (London School of Economics) keynote entitled ‘Emotionally Networked Journalism: Regaining Trust, Rebuilding Truth?’ looked at the rise of ‘fake news’, propaganda and hyper-partisan publishing online, and the effect it has on political journalism in western liberal democracies. He argued that to be effective, political networked journalism must embrace the emotional whilst reaffirming traditional news media values like transparency, expertise, and independent and critical reporting and analysis. Read his blog about this talk

A panel on environmental and disaster reporting brought current media trends to the fore, showing how emotion adds weight to science journalism, and shifts community perspectives of the morally correct way of reporting. The final session demonstrated the centrality of emotional reporting to activism, invigorating debates by presenting affecting stories of struggling farmers and the welfare conditions in the live animal export trade.

For more about this collaboratory through the Twitter lens, cl
ick here.

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Peace, Empathy and Conciliation through Music

Amadou Suso, kora player Photographer: Hayden DibThe UN International Day of Peace, 21 September 2017, was a fitting date to kick off the ‘Peace, Empathy and Conciliation through Music Collaboratory’ at The University of Melbourne.

Hosted by CHE in conjunction with the Faculty of the Victorian College of the Arts and Melbourne Conservatorium of Music, and Multicultural Arts Victoria, the collaboratory brought together researchers and practitioners (musicians including performers, community musicians, music educators, music therapists; community development workers; social service workers; arts organisation delegates) to share ideas about the ways that music contributes to a range of work on developing peace, empathy and conciliation.

In her keynote address entitled ‘Holding the Note: Music as a Powerful Force for Transformative Change in Our World’, Laura Hassler, Founder and Director of Musicians without Borders (MwB), focused on how her group’s short- and long-term projects have contributed to creating safe spaces for collaboration in communities struggling with division, isolation and loss. She explored how MwB contributed to bridging divides in conflict zones including Northern Ireland, the Balkans and Rwanda. The organisation works with local musicians to bring culturally appropriate forms of music to a range of contexts such as music workshops and dance events.

Kathryn Marsh (Sydney Conservatorium of Music, The University of Sydney), developing a number of subtly articulated theoretical threads, explored the ways in which music can contribute to the development of social synchrony in situations of social uncertainty generated by global conflict and widespread population movements in her keynote entitled ‘Music as Dialogic Space in the Promotion of Peace, Empathy and Social Inclusion’.

Marsh’s extensive cross-cultural research into the musical lives of children over the past 20 years has involved an examination of issues of migration, in addition to the socio-cultural factors influencing intercultural transmission and the musical practices of children in culturally diverse settings.

Brydie-Leigh Bartleet (Queensland Conservatorium, Griffith University) offered a stimulating and moving keynote interrogating how love, compassionate love in particular, can provide a way of promoting peace-building and empathy in intercultural music contexts. Her investigation brought to the fore the importance of trust, openness, caring, respect, dialogue and ethical responsibility in our intercultural musical practices.
Bartleet is known for her research in community music and community engagement and she has been at the cutting edge of interdisciplinary developments in music research that intersect with health and wellbeing, corrections and criminology, Indigenous and cultural policy, social justice and regional arts development.

The diversity represented at the Collaboratory was particularly evident in the panels. Topics included: everyday music practices, ‘streetsounds’, music therapy, music for peace initiatives, artist-led collaborations for youth, community choirs, church choirs, carnivals and festivals, classroom music to explore community music practices that promote inclusion and engagement in music making, composing for peace and divided cities.

In an interactive workshop, Indigenous musician Jessie Lloyd and Dutch applied ethnomusicologist Muriel Swijhuisen Reigersberg taught participants religious and secular songs from the Australian Aboriginal missions, discussing with the participants and each other how collecting and performing these songs had influenced their perspectives on conciliation, empathy and collaborative research. For a full overview of the program, click

The Collaboratory also included a UN International Day of Peace
dinner with live music.

For more information on the unifying and dividing power of music, read this
article by the Collaboratory convenors Samantha Dieckmann and Jane Davidson.

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Portals of Emotions

Map of the MediterraneanBy Katrina O’Loughlin, The University of Western Australia and Centre for the Study of Emotions in Cross-Cultural Exchange (ECCE)

Portals and Emotions have been the focus of two events hosted by the Centre for the Study of Emotions in Cross-Cultural Exchange (ECCE) in Split, Croatia.

ECCE’s first research meeting ‘Ports and Portals I: Emotions in Encounter and Exchange’, held on 7–8 June in the historic Northwest Tower of Diocletian’s Palace, drew an international group of historians, literary historians and art historians. They discussed the role of oceans and seas in political and cultural history, particularly where those waterways make landfall. Ports have always been synaptic sites of contact: access to the sea historically meant greater opportunity, freedom, excursion, and exchange. A constant flux of people and things moved through port cities: merchants, pilgrims, diplomats, rulers, refugees, renegades, pirates, slaves, travellers and soldiers. The port thus represents a material site of historical importance, but as delegates agreed, also a compelling model of an emotional ecosystem – those complex historical eco-cultures of people, atmosphere, feelings and things, where emotional vocabularies and standards meet, very often conflict, and new repertoires are made.

The seminar was a great opportunity to introduce our regional research collaborators to the Centre and each other, and the history of the ancient port city of Split. As Co-Director Mirko Sardelic explained: “The first workshop of ECCE was, in a way, like the first contact: it had to deal with preconceptions, hopes and fears. Very few people in South East Europe deal exclusively with the history of emotions – it all comes down to individual efforts – yet many are interested in the topic, at least tangentially’.

ECCE went on to host the second seminar in the Society for the History of Emotions (SHE) ‘Entangled Histories of Emotions in the Mediterranean’ series in Split on 25–26 September 2017. ‘Portals: Spaces of Encounter, Entanglement and Exchange’ explored historical sites of connection and estrangement in the Mediterranean – especially the sea and seaports of the Adriatic – asking what role geography and landscape might play in the shaping of emotional experience and cultural exchange. The seminar brought together a diverse group of researchers working on water, including an eminent historian of the Mediterranean Michel Balard (Université Paris 1 – Sorbonne) who spoke on fear and wonder prompted by the sea; Alexandr Osipian (National University of Kyiv), who presented on the seaport of Istanbul; and Rosa Salzberg (The University of Warwick / European University Institute) whose paper considered the early-modern entanglements of people and goods in the Venetian Lagoon. Zrinka Blažević (University of Zagreb) took a wider theoretical approach, positing the port as ‘a privileged place for an encounter with strangeness’ and potential model for cultural and emotional thresholds. Nataša Štefanec (University of Zagreb) also focussed on the possibility of the ‘portal’ as a way to think about the re-presentation of history in a region marked by passionate nationalisms.

The discussion and connections between papers gave rise to a further set of ideas and questions. In addition to the role of landscape and geography in shaping feeling in the region, I was struck by the importance of sensory experience in capturing emotional history (the sounds, smells, and tastes of a place), and of those personal ‘microhistories’ of connection and exchange that often seemed to bisect larger regimes and structural divides (such as language, empire, and religion). The politics of mapping, and the question of power itself also became prominent, as a number of speakers considered – directly or indirectly – the movement and manipulation of emotion for political effect. For more information on this event, click
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Emotional Cityscapes

Image: Arundel House, London, 1646. Wenceslaus Hollar British Museum, Wikimedia Commons.By Jade Riddle (PhD Candidate, The University of Adelaide) and Katie Barclay (Senior Research Fellow, The University of Adelaide)

A recent one-day symposium held at The University of Adelaide, ‘Mapping the Emotional Cityscape: Spaces, Performances and Emotion in Urban Life’, sought to explore the relationship between architecture, materiality, urban geography and emotion. It encompassed eighteen individual papers and two keynote presentations from diverse disciplines.

In her keynote address Kate Darian-Smith looked at a range of Melbourne’s heritage sites and the various ways they employ emotion in processes of reimagining pasts and futures. Examples included Abbotsford Convent, a space of abuse, repression and control, that has been reformed into a space of art and culture; and the Standing by Tunnerminnerwait and Maulboyheenner monument, a memorial to the first two aboriginal men executed by European settlers which acts to acknowledge past wrongs whilst contributing to a process of reconciliation.

This function of emotion as central to urban ‘regenerations’ was repeated in papers across the day, not least in Georgina Downey’s exploration of the uses of rubble as a material that brings the old into the making of the new, Celia White’s repurposing of a disused bank as a site of emotional resolution for individuals through art performance practice, and Rob Amery’s exploration of the reclaiming of the Adelaide plains for the Kaurna people through renaming urban space.

Building regulations and their use in creating harmonious city space was another common thread. Claire Walker, Andrew May and Trish Hansen’s panel on neighbours explored several ways that architecture and civic government attempt to produce harmonious relations whether through good fences and marked boundaries, or spaces for civic engagement. Such boundary-making often required a particular imagining of what the ideal emotions for urban space were and should be. Kerryn Drysdale’s discussion of drag-king culture at the Sly Fox Hotel suggested that emotional communities were not necessarily built upon idealised environments, but rather it was the worn interiors and distinctive smells of stale cigarettes and alcohol that underpinned the affective remembering of drag culture.

A focus on good neighbours raised questions about spaces for argument, particularly important in social change. The productive uses of conflict particularly emerged in discussions of heritage. Disputes over what gets protected and what gets demolished often elicited significant emotional reactions within the community as Jonathon Louth and Martin Potter showed in their discussion of the White Building in Phnom Penh. Heritage disputes often highlight how sites of everyday lived experiences and the emotional connections produced through them offer an important challenge to dominant power structures.

A strong theme throughout the day was the role of media in shaping emotional responses to space. Nicolas Kenny’s keynote explored the role of radio broadcasting in mediating and encouraging emotional closure within post-WW2 Brussels, showing that, at times, this was a carefully constructed or scripted process that tended to focus on the positive, celebratory emotional experience of a liberated city. It was also a history produced through a historian’s emotional engagement with his historical subject, bringing present emotions into past imaginings.

Several papers identified emotional responses to the city in contemporary literature and film. Meg Samuelson outlined how Johannesburg was often depicted in literature as both the city of ‘danger’ and ‘opportunity’ in post-Apartheid South Africa. Thomas Moran took a somewhat more theoretical path in deconstructing Jai Zhangke’s film The World, arguing that it was possible to explore melancholy through what architect and spatial theorist Rem Koolhaas defines as ‘junk space’. Moran showed that these circulation spaces, often forgotten in the design process, could host varied emotional exchanges for the space’s inhabitants.

Throughout the day, emotion emerged as something that motivated regeneration of cities, shaped relationships and uses of space, and encouraged social engagement and conflict.

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Old Emotions on the New Fortune Stage

A physiological demonstration with vivisection of a dog. Oil painting by Emile-Edouard Mouchy. Courtesy of Wellcome Library, London.The New Fortune Theatre at UWA is a working reconstruction of London’s Fortune Playhouse (1599–1600). It has enabled researchers to interrogate the theatre as a dynamic workspace and to study the intersections of theatre, emotions and history.

The potential of this unique space to function as a ‘humanities laboratory’ has been captured in a recent documentary by CHE. The documentary traces the history of the New Fortune Theatre, explaining its connection to prominent UWA scholars and literary figures, such as Allan Edwards and Dorothy Hewett.

According to CHE Meanings Program Leader, Bob White, this is not only a priceless heritage site, open to diverse community involvement, but also remarkable in its still underused potential as a thriving theatre space for Elizabethan and contemporary, experimental Australian and Asian drama. The New Fortune is ideal for teaching and researching the theatrical dynamics and emotions of early drama on a faithfully reconstructed stage.

UWA-based CHE Postdoctoral Research Fellow, Paul Megna, views the New Fortune Theatre as an excellent venue for staging various genres of medieval drama, because the stage can be viewed simultaneously from so many different angles. “It is reminiscent of the open-air venues in which medieval dramas were originally performed,” he says.

The New Fortune Theatre was opened on 29 January 1964 with Jeana Bradley’s production of Hamlet, for which Sir Laurence Olivier and other celebrities sent congratulatory telegrams. Its current main use is for the Renaissance Moved Reading Project, organised by the UWA Centre for Medieval and Early Modern Studies.

View the CHE documentary on the New Fortune Theatre
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Treasured Possessions for the Full STEAM Program

Full STEAM workshopsBy Bastian Fox Phelan (Administration and Outreach Officer, The University of Sydney)

During September, the CHE node at The University of Sydney (USyd) delivered the last two workshops for
Full STEAM, a program for children in Years 3 and 4 that explores concepts of the past, present and future. Earlier in the year, the node teamed up with Widening Participation and Outreach at USyd to be part of Full STEAM – a whole-day campus event where students from low socioeconomic schools enjoyed a hands-on experience of being at university. The day’s activities were divided across three sessions: a tour of the Nicholson Museum, a CHE workshop on history and emotions, and playtime in the library’s ThinkSpace (the university’s digital playground). For many students, this may have been their first visit to a museum, their first time seeing a 3D printer and most certainly their first time studying the history of emotions.

The CHE workshop was based on ‘
Treasured Possessions’, a highly successful research and outreach project by Postdoctoral Research Fellow, Kimberley-Joy Knight and former CHE Education and Outreach Officer, Gabriel Watts. This project brought together socially isolated seniors in Dapto, New South Wales, and invited them to share their personal histories attached to their most treasured possessions. As I prepared for the Full STEAM workshop and read through the stories in the ‘Treasured Possessions’ catalogue, I was surprised by how overwhelmed I was by the powerful emotions in the stories these people shared, along with the beautifully expressive, detailed photographs of the people and their objects. I thought that if these pictures had such an effect on me, surely they would make an excellent resource for the children doing the workshops!

For the new exercise I developed and laminated colour photocopies of the pictures in the catalogue and presented them while introducing the concept of ‘treasured possessions’. In small groups, the children worked through a series of prompts designed to encourage them to make up their own stories about each person and their treasured possession. Without any textual information, the children had the opportunity to use visual clues to ‘be the historian.’ The stories that the kids came up with were fantastic, and often close to the truth! This exercise made it easy for the students to grasp what could be quite a complex concept: the emotional and personal histories embedded in material culture.

When students were asked if any of them had a treasured possession, their answers demonstrated to me that they not only understood the concept, but that this workshop had given them an opportunity to share their own emotional histories. One girl said that her treasured possession was a locket engraved with all the names of her family – it helped her feel that her family was always with her. And one boy said that his treasured possession was a toy that had belonged to his brother. When his brother sadly passed away, the toy was handed down to him.

I hadn’t expected the children's stories to move me as much as the memoirs of the senior citizens, but this shows how powerful an excellent outreach project can be. Teacher feedback on the day of the workshops was very positive, and the students will have another chance to explore ‘Treasured Possessions’ via the post-visit plan developed by Widening Participation and Outreach. It will be great to see how ‘Treasured Possessions‘ can be further adapted by other communities in future.

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Connecting Teachers with Research

Teacher PD Day at UWABy Joanna Tyler (Education and Outreach Officer, The University of Western Australia)

On Saturday 19 August 2017, CHE ran a Professional Development (PD) Day for secondary school teachers at The University of Western Australia. CHE researchers and guest speakers provided presentations and demonstrations, focusing on engaging high school students in those aspects of the WA curriculum that can be linked to emotions, and to medieval and early modern history.

Teachers were given the opportunity to choose from a range of sessions, to ensure that their experiences on the day were relevant to their learning area at school. The presentations ranged from Shakespeare’s Hamlet for English and Drama teachers, to integrating Stoicism into the modern classroom for educators in all learning areas. CHE presenters included Andrew Lynch, Shino Konishi, Jane-Héloïse Nancarrow, Colin Yeo, Bríd Phillips, Susan Broomhall and Tara Auty.

Guest presenters included: Aundraea Stevens, an experienced Level 3 Secondary Teacher who spoke about modelling emotional intelligence in the classroom; Andy Fraser from Stage Combat Perth who provided a workshop on basic swordplay; and Louise Kilpatrick from the UWA Special Collections Library, who provided a tour of some of the library’s most precious and rare resources.

A wide range of educators attended the PD, from beginning teachers at the UWA School of Education to seasoned educators from schools and universities in both Perth and the South West region. Attendees reported that the sessions provided were well organised, enjoyable and inspiring.

As the Education and Outreach Officer, it is fantastic to know that the work CHE does is so integral to the life-long learning of WA educators and relevant to the enrichment of the wider community.

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Zest Festival Nomination

CHE was recently shortlisted for the prestigious 2017 CHASS Australia Prize for Distinctive Work in the Humanities, Arts and Social Sciences. The Centre was nominated for its research-based collaboration with the town of Kalbarri to create the
Zest Festival. The awards ceremony will take place on 10 October 2017 in Melbourne. The Zest Festival is put forward as an example of how academic research can be applied and embraced by a community. Click here to view a short documentary about the festival.


CHE Associate Investigator Emma Hutchison (The University of Queensland) has won the BISA Susan Strange Book Prize in 2017 for her publication Affective Communities in World Politics: Collective Emotions After Trauma (Cambridge University Press, 2016).

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New Publications

Helen Vella Bonavita. Illegitimacy and the National Family in Early Modern England. London: Routledge, 2017. Helen completed the first draft of this publication during her time as a visitor at CHE UWA.

A monograph by CHE Postdoctoral Research Fellow Michael Barbezat (The University of Western Australia), 'Burning Bodies: Community, Eschatology and Identity in the Middle Ages’, has been officially accepted for publication by the board of Cornell University Press. The book is the fruit of Michael’s postdoctoral research project with CHE, 'Literature and Culture of War, Conflict and Violence’, which he commenced in February 2015.

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Call for Papers

The Future of Emotions: Conversations Without Borders
Conference Date: 14‒15 June 2018
Venue: University Club of Western Australia, The University of Western Australia
Enquiries: Pam Bond (
Call for Papers Deadline: 2 February 2018

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Selected Forthcoming Events

Colourful Feelings: Responding to Historic Art Sources school holiday workshops
Registration essential. Enquiries: Wendy Norman (
Date: Wednesday 11 and Thursday 12 October 2017
Venue: Various venues (Adelaide), SA (please see our website for details)

The Passion of Joan of Arc (1928) film screening
Date: Thursday 26 October 2017
Time: 6.30pm
Venue: The Institute of Modern Art, Judith Wright Centre, 420 Brunswick St, Fortitude Valley, Brisbane
Free entry

Feeling the Past: Indigenous Emotions and History symposium
Dates: 9‒10 November 2017
Venue: Arts Lecture Room 4, The University of Western Australia
Shino Konishi (shino.konishi@uwa.edu.au)

Society for The History of Emotions Conference

Emotions of Cultures/Cultures of Emotions: Comparative Perspectives
Dates: 11‒13 December 2017
Venue: University Club, The University of Western Australia, 35 Stirling Hwy, Crawley (Perth) WA 6009
Jacqueline Van Gent
Enquiries: societyhistoryemotions@gmail.com
Registration is essential. Scroll down for registration costs.
Registration deadline for presenters: Monday 13 November 2017
Registration deadline for attendees: Monday 27 November 2017

Wild Emotions: Affect and the Natural World
Date: 14‒15 December 2017
Venue: Woodward Conference Centre, 10th Floor, Law Building, The University of Melbourne, 185 Pelham St, Carlton, VIC
Enquiries: Grace Moore (
Convened by:
Stephanie Trigg and Grace Moore

A full list of forthcoming events and further details about individual events can be found on our website.

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