After the ceremony, these flowers were taken 260 home by the churchgoers to save their houses from lightning strikes or to treat sick chil-261 dren and animals (e.g., via fumigation or infusion baths). Overall, I argue that the process and creative interpretations of Anzac do not necessarily constitute active dissent or rejection of the nationalist discourse rather, they increase the spaces into which the Anzac discourse permeates, further solidifying its place in the national consciousness. Finally, I found that the contexts of production and display of crafty commemoration may frequently be banal, which contributes to the normalisation of Anzac narrative as a widely accepted element of social life. Secondly, crafty commemorations reproduce and reinforce traditional imagery and emotional frameworks associated with Anzac that in turn support a crafty commemoration as a palatable, accessible and non-threatening form of commemoration. Firstly, I found that crafty commemoration is a meaningful endeavour, achieved through identity affirmation around family or craft practice, and building a sense of belong to community and nation. My analysis unmasks the 'cultural work' that is undertaken through commemoration in non-traditional locations. Interviews with 34 creative artists, readings of created Anzac cultural artefacts (entries or displays), and consideration of the display sites themselves were all analysed to draw attention to the inherent purposes, meanings and assumptions of the Anzac narrative operating in these contexts. ![]() Grounded in a material and cultural studies approach, I critically examine the milieu of production of Anzac-themed arts and crafts artefacts created specifically for rural agricultural shows and arts and craft displays. This thesis focuses attention on vernacular, individual-level acts of Anzac commemoration that took place outside of these contexts to understand how everyday Australians were moved by and respond to the call to remember the Anzac Centenary. Social narratives on the Centenary have tended to be institutionally controlled and homogeneous, and commemorative activities have been tied closely to the traditional spheres of commemoration, such as services and marches. ![]() The Anzac Centenary commemorative efforts have been positioned as a focal point of national significance for Australia in the period 2014-2018, and encompass the keystone centenary of the Anzac troops landing at Gallipoli in 1915. OUR RESOURCES (INCLUDING THE IMAGES WITHIN THEM), CANNOT BE SHARED OR SOLD COMMERCIALLY.This thesis investigates how Anzac narratives are interpreted and integrated into contemporary understandings of Australian national heritage and collective remembering through craft. COPYRIGHT ON ALL OF THE RESOURCES HOUSED ON THIS WEBSITE IS HELD BY ‘LITTLE OWLS RESOURCES’. ![]() Original artwork drawn by Sara Murphy and final digital resources created by Stuart Murphy. Children could be given an appropriate number for their learning and encouraged to place objects on the poppies, counting as they go. ![]() Puzzles could also be used as a fine motor control/counting activity if left uncut. Once the puzzles are complete, why not line the numbers up in order and count together? If your children would enjoy a further game, leave out a number and see if they can spot which one is missing from the sequence. Each pair has a different way of connecting as a puzzle for the children to match and so even if they haven’t learnt what the number looks like yet, but are beginning to say the numbers in order, this can be a fun way to introduce them to new challenges. Select those appropriate for your children (1-10 available) and allow them to match the number with the corresponding number of poppies.
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