Last year at the 2022 AUSMOB conference, I presented a paper titled “The Role of Rhythmical Pattern Body Movement in ANZAC Commemoration and Site Connotations”. The project’s inspiration was the Australian War Memorial’s (AWM) daily Last Post Ceremony (LPC), which daily transmits Anzac commemoration. This presentation discusses the investigative practice art methodology that I used for that project.
Sklar proclaimed that ‘ways of moving, are ways of thinking’, suggesting that body movement, gesture and posture are culturally trained acts that reflect a society and identity. Cultural knowledge and belief that is transmitted (e.g., as with commemoration) is a felt body experience, not a rational one. Miles agreed but suggested that this construct originated from the assertion of power to represent or create meanings.
I am an artist/researcher and my practice includes photomedia as well as Hilal dance. For this project, the principle instrument was using my Hilal Dance practice, which was recorded through performance autoethnography and video. Thrift’s non-representational theory (i.e., written text inadequately communicates multi-sensual practices and experiences) applies here. This limitation is important to acknowledge in this project because ways of movement are ways of thinking and feeling, though those ways of thinking can only be inferred inadequately through written media.
My investigative practice is demonstrated through two examples. The first example from my Anzac Parade video series shows how rhythmical pattern body movement can convey a more religious tone and meaning at the Hellenic Memorial. In the second example, I discuss from my Wreath Laying video series a red poppy wreath being laid at the ACT Bushfire Memorial again using rhythmical pattern body movement which conveyed an Anzac commemorative connotation at this site - a meaning that is alien to this particular memorial.