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Master of Arts and Cultural Management Chevron-right
Master of Arts and Cultural Management
CRICOS Code: 073305A
200 point program (2 years full-time or part-time equivalent)
This is our most popular program for those who have completed undergraduate study. No experience is necessary.
50 points of Foundation subjects (must be completed in the first 100 points of the program)
5 Compulsory subjects (62.5 points)
Minimum of 62.5 points of Core subjects (maximum of 87.5 points)
Maximum of 25 points of Elective subjects
150 point program (1.5 years full-time or part-time equivalent)
This is for graduates who have completed at least one year of relevant professional work experience, or equivalent.
100 point program (1 year full-time or part-time equivalent)
This is for relevant honours graduates or those who have completed at least two years professional work experience in a closely related field, in addition to relevant background study.
37.5 points of Core subjects (Coursework only)
Arts Management Thesis Part 1 (AMGT90027) and Arts Management Thesis Part 2 (AMGT90028) (37.5 points) (Minor Thesis option)
Please note: Students can choose between a coursework only option or a minor thesis option.
Capstone requirement
All students are required to complete one of the three available Capstone streams for the program (at least 25 points). For more detailed view the Handbook entry for this course.
View Handbook entry
Available in this course
200 Point plan150 Point plan100 Point plan
FoundationCredit points
Australian Art12.5
This subject provides a scholarly introduction to the history of art in Australia, at the same time incorporating new perspectives, approaches and ideas. It demonstrates ways of interpreting Australian art through its relationship to historical events and contemporary thought. Topics considered will include the perceptual values known as the picturesque and the sublime in topographical and landscape painting respectively, the concept of terra nullius and how the indigenous inhabitants were represented, women artists of the 19th and early 20th centuries, Australian Impressionism, artists abroad, neo-classicism, the art of war and the Anzac legend, modernism in Sydney and Melbourne and the growing awareness of new European movements such as Expressionism, Cubism, and Surrealism. A lively and comprehensive look at what's topical in Australian art history, including the art polemics of the 1940s and 1950s, Australian Pop Art and the swinging 60s.
European Renaissance Art12.5
European Renaissance Art
The subject explores the art and culture of Renaissance Europe between 1300 and 1600, with a particular focus on Italy, France, and Spain. This is one of the most pivotal periods in the history of art, when many of our contemporary ideas about art and artists were coming into being. Topics to be covered include the life and practice of individual artists, including such figures as Leonardo, Titian, and Holbein; the rise of art theory,; collecting and the birth of the museum; and the role of power and desire in the making and reception of art. Readings include both Renaissance texts and contemporary art history and theory. Tutorials will examine issues related to a given week's lecture, or focus on related and object-based teaching in University and Melbourne collections.
Art and Revolution12.5
Art and Revolution
What does the art of nineteenth-century Europe tell us about the society that made it? This period was marked by immense social and cultural change: political upheaval; rapid industrialisation; an expanding colonial empire; a society altered by shifting attitudes to class, race, gender, bodies, senses and emotions; rapid urbanisation (and dislocation) as people moved from countryside to city. Artists responded to these changes in revolutionary ways of their own, defying the traditional approaches of the academy and creating their own modes for representing their world. From Romanticism and Orientalism to Impressionism and the avant-gardes of the late-nineteenth century, these artists' shifting representations of social relations, the landscape, the human body, and sexual and gender identity fundamentally altered both the function of visual art and the role of the artist. In this subject, students will explore how painting and sculpture of nineteenth-century Europe was instrumental in creating new identities and new modes of being in and imaging the world amid the conditions of modernity and the emergence of Industrial capitalism. Although the primary case study will be France, art from other European countries will also be discussed. Engaging with recent scholarship, students will be encouraged to question and critique the ways in which art has the capacity to embody, reflect, and challenge ideologies of its time.
Art, Market and Methods12.5
Art, Market and Methods
This subject deals with the creation and the reception of the work of art. It commences in 15th century Italy with an examination of the organisation of artists' workshops and concludes by analysing the relationships between contemporary artists, their materials and markets. Topics in the subject are varied but will focus around certain key issues: the changing status of the artist, the determination of authenticity and value, and the role of materials and markets in the construction of meaning.
Art in Medieval Europe12.5
Art in Medieval Europe
This subject provides an introduction to the art of medieval Europe, from the Roman Empire (c. 300) to the late Middle Ages (c. 1400), surveying the major artistic developments across the period wth particular emphasis on Italy. It focuses on the function of imagery in specific historical and physical contexts, and considers the lives and motives of patrons, audiences as well as artists. Lectures introduce broad themes and topics, including: early medieval attitudes toward the classical past; European perceptions of Byzantium and Islam; political imagery in medieval courts; the cult of relics; the rise of devotional imagery; the emergence of the 'artist'; and the origins of the independent easel painting (the canonical vehicle of modern art). Tutorials focus on key art works from a range of media (including wall paintings, panel paintings, mosaic, sculpture, ivories, metalwork, tapestry, illuminated manuscripts, and stained glass), and include site visits to University of Melbourne collections and to the National Gallery of Victoria.
Avant-Garde and Postmodern Art12.5
Avant-Garde and Postmodern Art
This subject examines avant-garde and postmodern art and film during the 20th century. A variety of artistic theories, movements and artists from Europe and North America will be considered. The social, historical and theoretical context in which diverse avant-garde and postmodernist aesthetics were formed will be studied using historical sources and contemporary theory. Students will become familiar with issues such as the relationship of art and politics, utopian models of art, nationalism and the arts, as well as the shifting ways in which theories of gender, race and sexuality informed artists' work.
Arts of East Asia12.5
Arts of East Asia
This subject will introduce students to the mediums, genres, and vocabulary of pre-modern Chinese, Japanese, and Korean visual culture. Weekly lectures and tutorials will focus on either a specific medium (ink painting, calligraphy, ceramics, timber frame architecture, urban landscape, gardens) or a theme (tombs, Buddhism, Confucianism, genre painting, narrative painting) and through case studies, the political, social, and cultural factors that inform and shape works of art will be considered. The objects and sites under consideration will sometimes raise historical questions about the impact of one tradition upon the others, allowing us to see East Asia as a culturally connected macroregion; in other cases, the lectures will bring together works that require us to think critically about how we analyze and interpret the history of artistic production. Ultimately, this subject will provide students a foundation and framework to consider the history of East Asian art, as well as the tools by which to consider the dimensions and character of the common narratives applied to this history.
Studying Contemporary Art Abroad25
Studying Contemporary Art Abroad
This subject is taught on location in a major art centre (the subject may be taught in one year in New York, or in other destinations as appropriate) using social, economic, geographical and cultural effects of the respective arts centre as a case study of culture in action. Students will be introduced to the key institutional components of the art centre studied: this may include as appropriate: urban and rural fabrics, museums, cultural sites, galleries, alternative spaces, corporate collections, auction houses, art magazines and studies, depending on the art centre. Students will study the history, context, display and consumption of art, allowing consideration of recent developments in museology, arts policy and cultural tourism. The subject develops a broad understanding of the historical and aesthetic characteristics of artworks produced during selected artistic periods. The subject draws attention to the varying contexts informing works of art, including the relationship between art and its methods of production and preservation, its encouragement with society and installation in museum settings, and the different ways in which it conveys. Students should develop a range of approaches to understanding art, from issues of censorship and art, to gender and sexual identity in art, art and politics, space and meaning. The subject provides students with a fundamental grounding in art history and/or architectural history, and in the broader critical and analytical skills necessary for the study of art in later years. Students wishing to enrol in this subject must consult the notes below.
The Age of Golden Ages: Art in Europe12.5
The Age of Golden Ages: Art in Europe
This subject interrogates painting, sculpture and architecture in Italy, France, Spain and the Netherlands in the 17th century. It will cover the art of Caravaggio, Gian Lorenzo Bernini, Peter Paul Rubens, Rembrandt van Rijn, Diego Velàzquez, and Nicolas Poussin, among many others. This subject aims to give an introduction to the main issues to be found in the art historical literature on these artists, and so the subject deals with a wide range of questions and themes. These include theory, practice and the rise of academies, the representation of sexuality, interpretation/iconography, gender, and biography.
Contemporary Aboriginal Art12.5
Contemporary Aboriginal Art
Starting with the acrylics of the Western Desert (Papunya) and ending with the most recent developments in new media, the field of contemporary Aboriginal art will be surveyed. Issues such as copyright and appropriation, the art market, women's art practice, curating and collection policy are debated in this subject and key works in painting, sculpture, printmaking, and photography are studied and discussed. By the end of semester students should have a familiarity with the main issues concerning the interpretation of Aboriginal art in Australia and have a broad knowledge of the pictorial practices of prominent contemporary Aboriginal artists. Guest lectures by artists, academics and industry professionals, as well as visits to art galleries and museums, are a feature of this subject.
The Medieval Image: Art and Culture12.5
The Medieval Image: Art and Culture
Taking the so-called 'late Middle Ages' (approximately 1300–1520) as its focus, this subject confronts a set of seemingly simple questions: what is an image, who makes images, and how do they circulate in the world? It examines the roles images played during this period from a variety of perspectives, including mystical devotion, market conditions, the emergence of print technology, (im)materiality, artisanal craft traditions, and political frameworks in which conflicting attitudes toward image-making were developed. More broadly,students in this upper-level subject will investigate different art historical approaches to this period and scrutinize the way art history as a discipline orders images, objects, and art temporally.
English and Theatre StudiesCredit points
Modern and Contemporary Theatre12.5
Modern and Contemporary Theatre
This subject is a study of the major developments in 20th and 21st century theatre and drama within the cultural and historical context of aesthetic modernism and modernity. It starts with the anti-realist manifestos of Bertolt Brecht and Antonin Artaud, and the theatrical innovations of Samuel Beckett, to consider the key intellectual and artistic upheavals of modern theatre and drama. The subject then turns to the impact of contemporary dramatists from the social realism of Shelagh Delaney and the political force of Caryl Churchill, to the gay fantasia of Tony Kushner, and the experiential theatre of Sarah Kane. The subject concludes with a section on 21st century advances in theatre that engage with virtual reality, global war and social satire.
Shakespeare in Performance12.5
Shakespeare in Performance
This subject investigates the adaptation of Shakespeare's drama from page to stage and beyond. It will introduce Shakespeare in historical and contemporary eras, in western and non-western sites of criticism and performance, including avant-garde and postmodern contexts for Shakespeare and Shakespearean adaptation in film and television. The subject will examine Shakespeare's canon and key literary perspectives, including discussion of Shakespeare's plays in relation to issues of cultural politics and power.
The Theatre Experience12.5
This subject is for students across the university interested in understanding and enjoying theatre, an ancient art form that enjoys continuing popularity in many modern societies, including Australia. Drawing on a range of local and international examples from mainstream and experimental performance styles, we examine what is distinctive about the theatre experience, and what it can tell us about the place and times we live in. Students new to theatre should gain some insight into why it remains such a vital art form, as well as a firm grounding in theatre appreciation that will serve them well long after the subject is over. More experienced theatre-goers will find the subject's approach to the fundamentals of the form a refreshing and provocative basis for deeper understanding and further study. In order to achieve these goals, the subject is divided into three parts. Part One identifies theatre's unique qualities. Part Two explores how to analyse them. Part Three considers theatricality in mass culture. Lectures and tutorial discussions will draw on plays, critical writings and performance recordings, while also making the most of Melbourne's own vibrant theatre scene.
Performance and the World12.5
Performance and the World
This subject is a study of performance in its many modalities around the world. It brings together the areas of theatrical performance in traditional theatre venues, avant-garde and experimental performance in non-traditional spaces, dance both traditional and contemporary, and a range of comparative cultural performances that may include global activism and protest, sporting events, festivals and spectacles. Students will examine the impact of globalisation on performance practice and the effects of digital access to performances from around the world. They will also consider the role of the audience and spectatorship in performance reception and interpretation and develop an understanding of how meaning is negotiated and contested. Examples will be drawn from published texts, audio-visual material, and, where appropriate, live performance events.
MusicCredit points
Musics of the World12.5
Musics of the World
The subject provides an introduction to understanding the relationship between music-making and social organisation in cross-cultural perspective. It presents case studies of traditional and contemporary music-making from different geographic areas, including Indigenous Australia, Africa, the Middle East, Asia, Europe, and the Americas.
Music History 2: C19th Music and Ideas12.5
Music History 2: C19th Music and Ideas
An overview of musical works and ideas from the 19th century. Representative works of the period are introduced in their social and cultural contexts. The subject also looks at music and its audiences, and the role of music institutions in shaping music history. The focus will mainly be Western Europe with a segment on music in Australia.
The Ethnography of Music12.5
The Ethnography of Music
This subject teaches students to conceptualise and undertake an ethnographic research project on music-making in the contemporary world. Through in-class activities, students learn to make fieldnotes, engage in participant-observation, conduct interviews, and use performance as a research tool. Through weekly readings, students learn to assess and navigate ethical issues related to research and writing about musicians and listeners. The subject is especially designed for students considering honours or graduate research in music.
Music History 3:Impressionism to Present12.5
Music History 3:Impressionism to Present
In this subject, we explore representative styles of Western art music from 1900 to the present. The music will be examined from a number of perspectives including nationalist and internationalist currents, modernist tendencies and the quest for order and disorder, and with reference to wider socio-cultural contexts. The music of Australia will also be studied in relation to corresponding global trends.
Business/Economics/CommerceCredit points
Managing in Contemporary Organisations12.5
Managing in Contemporary Organisations
This subject will examine the management of contemporary organisations with a particular emphasis on understanding link between theory and practice. Subject content will include an introduction to a broad set of perspectives relating to how organizations are managed today, such as, technology, innovation, strategy, design, structure, culture, and change. By focussing on case studies students will gain insight on the importance of theory for providing solutions to typical organizational problems.
Managing Strategic Change12.5
Managing Strategic Change
This subject explores different models of strategy making and examines some of the difficulties involved in managing strategic change. Traditional models see strategy making as a straightforward, rational, 'top-down' process. Empirical work shows, however, that the formulation and implementation of strategies is a complex process, which is affected by political, cognitive, and contextual factors. Top managers can formulate a detailed strategic plan; but plans are not always put into practice nor are the plans that are put into practice necessarily successful. The subject commences by reviewing traditional models of strategy making where strategies are formed to derive a competitive advantage that enables the organisation to respond to environmental threats and opportunities. Students will then be introduced to other models, including institutional, ecological, competitive, value-driven and critical perspectives, to explore how strategic change is managed.
Managing Entrepreneurship and Innovation12.5
Managing Entrepreneurship and Innovation
The subject is systematically organised around the creation, assessment, growth development, and operation of new and emerging ventures. The subject consists of four main parts: Part 1 introduces the emerging world of entrepreneurship and looks at entrepreneurial activity of countries in the Asia-Pacific. The concept of entrepreneurship is introduced as an emerging strategy. Part 2 explores creativity for individuals and the concept of innovation. We also look at the challenges facing growing entrepreneurial ventures from a family business perspective, such as management succession, ethics and social entrepreneurship. Part 3 is concerned with the methods of assessing new ventures and business opportunities as well as certain proprietary protections (patents, copyrights and trademarks). This part also focuses on the growth and development of entrepreneurial ventures. The need for strategic planning, the challenge of managing entrepreneurial growth, and the global opportunities available to entrepreneurs are also discussed. Finally, Part 4 focuses on the development of a sustainable business plan, including assessment of regulatory, competitive and local environments and their effect on new and emerging ventures.
Organisations, Ethics and Society12.5
Organisations, Ethics and Society
This subject critically examines the ways in which business organisations affect and are affected by the wider society in which they operate. That 'wider society' includes governments, communities, the natural environment and other stakeholders. It also includes global and local trends and forces, e.g., advances in technology, cultural diversity, economic and political forces. This subject explores the contested meanings and practices of ethical decision making in organisations and corporate social responsibility. It also examines how public issues and crises rise and fall over time, and how organisations respond (e.g., triple bottom line reporting). Such issues and crises include corporate financial scandals, anti-globalisation protests and climate change. This subject also considers the impact upon profitability, or the 'business case', for operating in an ethical and socially responsible manner. These themes constitute major strategic questions currently facing organisational managers and researchers.
Strategic Management12.5
This subject explores the core management challenge of strategy formulation. This involves identification, assessment and selection of business and corporate strategy options, all with an eye to building and sustaining competitive advantage. Business strategies address the question of 'how to compete' in a given industry or market. Corporate strategies consider choices around industries, activities and locations. Students will utilise and critique a range of analytical frameworks, each crucial in developing a 'whole of business' strategic vision, beyond functional marketing, operations and finance decisions.
CompulsoryCredit points
Principles of Arts Management12.5
Principles of Arts Management
This subject introduces students to the theories, processes, and practices behind strategic planning and decision-making in arts organisations today. In addition to generic management issues, students will be asked to identify and analyse issues specific to the arts industry. Students will be introduced to core issues in arts management, including strategic planning, governance, employment relations and workforce development, funding and financing, community and audience engagement; and evaluations and indicators.
States, Governments and the Arts12.5
States, Governments and the Arts
This subject introduces students to arts policy and the issues that arise from the role the arts play in society. It surveys policy across various art forms and gives students a working grasp of how policy impacts on arts companies and artists. The focus is on the mechanics and practicalities of arts policy.
Finance and Budgeting12.5
Finance and Budgeting
This subject introduces students to the fundamentals of financial management and budgeting in arts organisations. Commencing with an examination of the principal financial reports the subject takes students through the nature and type of transactions undertaken by arts organisations, how these transactions are recorded in financial statements and the steps necessary to prudently manage arts organisations. In the second half of the semester students examine the preparation and evaluation of financial budgets in arts organisations. Specifically students address the budgeting process, budget preparation and the use of financial and performance measurement systems.
The Economics of Culture12.5
The Economics of Culture
This subject examines the arts and culture as part of an economic system. Students are introduced to diverse approaches to the economic characterisation of arts and cultural production including culture as a public good, the creative industries paradigms and the role of taxation policies and private support for cultural activity. Different sectors of the arts and cultural industry will be analysed from highly commercialised free-market operations to fully government-funded structures.
Applied Research Methods12.5
Applied Research Methods
This subject is an overview of the qualitative and quantitative methods used in researching the Arts and Cultural sector. The course will cover research design, implementation, analysis and communication of results. Particular focus will be paid to the application of research in professional settings.
Contemporary Art in China25
Contemporary Art in China
This subject is taught on location in a major art centre (the subject may be taught one year in China, or another year in New York, or in other destinations, as appropriate), using the social, economic, geographical and cultural effects of the art centre as a case study of historical and contemporary culture. Students will be introduced to the key institutional components of an art centre: as appropriate, museums, galleries, alternative spaces, corporate collections, auction houses, art magazines and studios. These will be analysed using models derived from discourse theory, the institutional model of art, urban sociology, psychogeography, architectural history and subcultural theory. Students will study the display and consumption of art, allowing consideration of recent developments in museology, arts policy, commodity theory and cultural tourism.
Students wishing to enrol in this subject must consult the 'Notes' below.
Aboriginal Art in the Northern Territory12.5
Aboriginal Art in the Northern Territory
This subject is taught in Alice Springs and Darwin with visits to artistically significant Aboriginal communities. Emphasising Indigenous ownership of cultural knowledge, students will consider the history and development of Aboriginal art in the Northern Territory and the specific social, economic, geographical and cultural effects it has generated. In a series of structured classes, students will be versed in protocols and introduced to traditional owners and community members. During visits to communities, students will witness the creation of artworks and be able to initiate projects based on primary research. They will learn about the key issues and elements governing the contemporary Aboriginal art scene, the relationship between art and culture, including the importance of art in the wider community. Funding, management models and resource availability will be explained in relation to the art centres visited. Students will also study the display and consumption of Indigenous art at institutional and tourist levels.
A quota of 10-12 students applies to this subject.
Studying Contemporary Art Overseas25
Studying Contemporary Art Overseas
This subject is taught on location in a major art centre using the social, economic, geographical and cultural effects of the art centre as a case study of historical and contemporary culture. Students will be introduced to the key institutional components of an art centre: as appropriate, museums, galleries, alternative spaces, corporate collections, auction houses, art magazines and studios. These will be analysed using models derived from discourse theory, the institutional model of art, urban sociology, psycho geography, architectural history and subcultural theory. Students will study the display and consumption of art, allowing consideration of recent developments in museology, arts policy, commodity theory and cultural tourism.
Working in Indigenous Cultural Contexts12.5
Working in Indigenous Cultural Contexts
This subject will examine the diversity of protocols and management practices that arts and cultural managers need to be cognisant of when working in Australian Indigenous cultural contexts. Examining management concerns and practices across a range of art forms in both urban and remote settings, this subject assists in preparing arts and cultural managers to work with Indigenous artists and arts communities. The subject will present a contemporary overview of the significance of arts in Australian Indigenous social history and explore the nature of indigenous protocols, Indigenous cultural and intellectual property rights, the role of criticism in the development of Australian Indigenous arts and the practice of management in the Australian Indigenous cultural contexts.
Art and Cultural Management in Asia12.5
Art and Cultural Management in Asia
This subject combines a study of the Asian arts, cultural and creative sector today with consideration of the demands of working collaboratively between Australia and Asian countries. The subject examines social, political and cultural backgrounds and the ramifications for engagement with cultural organisations and creative practitioners. The approach to the material is through lectures, readings, class discussions, guest speakers from industry and the content is topic-based, which will vary from year to year depending on the composition of the class and guest lecturers.
Arts Law12.5
Arts Law
This subject introduces the general framework of Australia's legal system as it relates to the arts and cultural sector. It then focuses on three areas relevant to all cultural sectors: contract, copyright and negligence. Aspects of trade practices law and corporations legislation will also be examined. A range of other issues are covered in outline, including the limits imposed on artistic expression by defamation law and censorship.
Audiences and the Arts12.5
Audiences and the Arts
This subject examines audience development and retention in arts and cultural activities through a variety of professional techniques including programming and content analysis, analysis of existing and lapsed audiences, as well as exploring and critiquing the effectiveness of conventional marketing tools. Lectures and seminars will address a range of themes underpinning audience development. These include research into attitudes to the arts, economic and social trends that impact on attendance at arts events, and the role of artists as promoters of their own work.
Advanced Arts Management12.5
Advanced Arts Management
The aim of this subject is to provide students with knowledge, insight and skills in the practice of managing creative people and organisations. This is achieved through the study of the theory and practice of good management and effective leadership as it applies to a range of organisational styles in the arts, considering and comparing the not-for-profit and commercial sectors. Topics will include but not be limited to: creating visions for arts organisations, the theory and practice of strategic planning, managing different types and sizes of organisations, managing staff and stakeholders.
Global Cultural Policy and Practice12.5
Global Cultural Policy and Practice
This subject undertakes an in-depth study of the interplay between politics, policy and the creative economy under globalization. We examine how economic, social, cultural, technological and political developments in the post-Keynesian era have influenced the increasing internationalization of the arts and creative industries and the policies that shape them. Particular attention will be paid to the relationship between the state, the private sector and civil society through an analysis of the ways in which globalization shapes cultural policy and practices at local, regional, national and international scales.
Managing Creative Content12.5
Managing Creative Content
This subject examines the practical legal aspects of the management of intellectual property in the area of creative production. The focus is on contracts and copyright in a range of specific arts and cultural contexts. These include film and multimedia production and distribution, fashion and design, the commissioning and production of public art, the creation and presentation of performing arts; the management of museum and gallery collections and the administration of artistic and literary estates.
Cultural Management Project (Sem Long)25
Cultural Management Project (Sem Long)
Original research on an approved research project selected in consultation with the supervisor. The research project will be in the field of arts and cultural management as applied to a single art form or cross-art form projects such as festivals, multimedia projects or international exchange in the arts. A minimum of 50% of the student's research project must involve theoretical study. The theoretical study will provide a framework for any practical research undertaken.
Communicating the Arts12.5
Communicating the Arts
This subject investigates the diversity of communication forms, practices and strategies used across the breadth of arts organisations. Students will explore a range of influential communication concepts, investigating the evolution from traditional forms of engagement to contemporary innovations in this area. Seminars will explore the interrelationship between communication theory and practice, identifying pivotal issues and influential concepts in arts communication. Students will engage in an advanced study of scholarly approaches and contemporary debates in the field. Students will become actively involved in a range of tasks including writing reviews, creating blogs, writing catalogue entries, examining archival and historical documents, developing grant applications and by designing promotional campaigns for arts organisations.
Cultural Festivals and Special Events12.5
Cultural Festivals and Special Events
Cultural festivals, carnivals and special events are a prominent feature of arts and cultural activities at the local, national and international level. Through a series of international and local case studies this subject examines the cultural, economic and artistic origins of and rationales for these events in the context of a range of theoretical framings. These include the presence of invented traditions, the carnivalesque and ritual in contemporary festival practices. The role of programming, artistic direction and audiences will be explored in order to appreciate the diverse range of interests that served by such events and the social and political contexts within which they take place.
Cultural Management Project Part 112.5
Cultural Management Project Part 1
Original research on an approved research project selected in consultation with the supervisor. The research project will be in the field of arts and cultural management as applied to a single art form or cross-art form projects such as festivals, multimedia projects or international exchange in the arts. A minimum of 50% of the student's research project must involve theoretical study. The theoretical study will provide a framework for any practical research undertaken. Enrolment in this subject is across two consecutive semesters and students must enrol in the subject in each semester to ensure they are meeting the full 25 point requirement for the year-long subject.
Refer to AMGT90025 Cultural Management Project Part 1 for details
Arts Management Thesis Part 118.75
Arts Management Thesis Part 1
Students enrolled in this subject will undertake a piece of research in arts management approved by the course coordinator. The research will incorporate both theoretical inquiry and primary research. On completion of the subject, students will submit a minor thesis on their chosen research topic. Enrolment in the thesis is across two consecutive semesters and students must enrol in the subject in each semester to ensure they are meeting the full 37.5 point requirement for the year-long subject.
The subject coordinator can turn down the proposal (and thereby entry into the Minor Thesis) if the subject of the proposed Minor Thesis does not sufficiently align with the focus of the Master of Arts and Cultural Management.
Refer to AMGT90027 Arts Management Thesis Part 1 for details
Philanthropy and Development in the Arts12.5
Philanthropy and Development in the Arts
This subject will provide students with an understanding of the role of philanthropy, development activities and fundraising in the cultural not for profit sector. The focus is on developing an appreciation of the role of institutional and individual partnerships in this area. Combining an analysis of major philanthropic institutions, private gifts and bequests, and international practices, the subject canvasses the institutional and personal motivations of benefactors. It also provides an overview of the various government policies and legal frameworks that facilitate and enable philanthropic activity.
Developing Cultural Industries12.5
Developing Cultural Industries
This subject will provide students with an understanding of contemporary debates regarding the role of cultural industries around the world. The focus is on the way stakeholders in the cultural industries can negotiate the normative dimensions of cultural creation, dissemination, and consumption. This includes questions about social inclusion, cultural diversity, sustainability, ownership, and so on. Building on a range of examples including countries, cities, international organisations, and civil society organisations) this subject combines a theoretically rigorous approach to cultural industries with thorough reflections on the policy frameworks that exist and/or are needed.
Please note: in 2018, this subject will be delivered as an overseas intensive, at the Institut Seni Indonesia, Yogyakarta, Indonesia.
Cultural Policy and Power12.5
Cultural Policy and Power
This subject introduces students to cultural policy studies as a distinct domain of cultural studies. It examines the stakes involved in defining and operating within cultural policy studies by working through the characterisations of creative industries, cultural practices, cultural politics and power. Students will analyse specific instances of cultural policy and creative industry developments in Australia, Asia and elsewhere, produce specific studies of the political dimensions of cultural practices in order to re-think perceived notions of identity, ideology and representation, and comprehend the range and consequences of scholarly involvement in cultural policy studies. Students completing the subject will appreciate the relationship between critical analysis and policy orientation in cultural studies and be familiar with specific instances of cultural policy, creative industry and cultural citizenship development at local, state, federal and international levels.
Cultural Complexity and Intelligence12.5
Cultural Complexity and Intelligence
How do we adapt to new cultural settings and function effectively in situations characterized by cultural diversity? How do we orient ourselves to knowledge that accounts for cultural complexity? This subject addresses these questions by examining cultural intelligence. Cultural intelligence is concerned not only with producing social and institutional sustainability but the frameworks and practices which enable people to thrive in, belong to and enhance the communities in which they live and work. This subject will examine: management approaches to cultural intelligence, cultural complexity theory, everyday multiculturalism and cultural diversity planning, across a range of sites and case studies including the multi-ethnic workplace, the cross-cultural marketplace, social contract learning, cultural statistics, creative industries, social media and open source intelligence. Introducing the cultural dimensions of organisational strategy, governance and competency, students will learn how cultural intelligence can potentially mitigate cultural complexity.
Internship II (Semester Long)25
Internship II (Semester Long)
Students enrolled in this subject will be assisted to find a placement in a professional working environment where they will gain direct exposure to professional practice in their chosen field. They will work under the guidance of a senior staff member, with additional support from the subject co-ordinator. As well as taking part in the host organisation's day-to-day work, students will undertake a research project of concrete and practical benefit to the host organisation or the broader industry. The research topic will be negotiated between the student, the organisation's management and the subject co-ordinator. Students seeking to undertake the research internship in their current place of employment must consult the subject coordinator.
Internship II (Year Long) Part 112.5
Internship II (Year Long) Part 1
Students enrolled in this subject will be assisted to find a placement in a professional working environment where they will gain direct exposure to professional practice in their chosen field. They will work under the guidance of a senior staff member, with additional support from the subject coordinator. As well as taking part in the host organisation's day-to-day work, students will undertake a research project of concrete and practical benefit to the host organisation or the broader industry. The research topic will be negotiated between the student, the organisation's management and the subject coordinator. The subject is to be completed over two consecutive semesters and students must enrol in the subject in each semester to ensure they are meeting the full 25 point requirement for the year-long subject. Students seeking to undertake the research internship in their current place of employment must consult the subject coordinator.
Refer to MULT90061 Internship II (Year Long) Part 1 for details
Film Festival Cultures12.5
Film Festival Cultures
This subject is a study of the development of international film festival cultures and their historical and contemporary role in art house and national cinemas. Through an examination of the history and the basic operations of selected film festivals (such as Cannes, Berlin, Sundance and Melbourne), and by devising and mounting a film festival as a group project, the changing nature of film festival cultures will be considered. The popularisation of film festivals and their role in international event and celebrity culture will be assessed in relation to the increasingly limited and commercialised world of art, experimental and avant-garde cinema. The film festival is thus considered as a key site of international film culture. As a place where all aspects of film culture (art, economic, entertainment) come together, the festival is demonstrated as case study in the business of contemporary filmmaking, its past and its future.
Film Production: From Script to Screen12.5
Film Production: From Script to Screen
This subject will focus on the theoretical and practical elements involved in the production of screen-based content through advanced research, professional insight and contemporary practice. Students will gain specialised theoretical and practical grounding in the screen-based content production life cycle including: the 'pitch'; script and story development; funding and financing; pre-production, principal photography and post-production; and transmedia production and distribution. The Australian screen production sector will be situated within the context of a highly globalised industry. Other areas under investigation include the role of industry and policy stakeholders; support for emerging content creators; forms of marketing and promotion; new technology and workflows; and cross-platform production strategies.
ElectiveCredit points
Interpreting Exhibitions12.5
Interpreting Exhibitions
This subject will examine the various strategies employed by museums and galleries to frame the objects and ideas in their care and in order to communicate to the public about them. It will consider how these display strategies have changed over time, but its principal focus will nonetheless be on current exhibition and display settings, from contemporary art spaces to science and natural history museums. What is the best way - if any - to frame a particular exhibition? What sorts of communications messages should curators and exhibition designers seek to convey to museum and gallery visitors? How effectively do galleries and museums communicate their ideas? What role does the public have in engaging with the objects and ideas in museum and gallery display settings? These and other questions will be asked in order to critically interrogate the idea of the exhibition as a meeting point between the institution and the public and as a site of a charged dialogue of meaning between all the players in the exhibition circuit: from the institution, to the objects and/or ideas in the institution, and on to the public who comes to engage with them. On completion of the subject students should be able to apply a range of critical theoretical, art historical and museological approaches to the study of exhibitions and displays in historical and contemporary settings.
History and Philosophy of Museums12.5
History and Philosophy of Museums
This subject examines the growth of the museum from its origins in the wunderkammer and antiquarian collections of the 16th century to the dynamic and constantly shifting field of possibilities available to museums today. The subject charts the progression of the museum from the private collections of the Renaissance and Baroque to the vast public institutional spaces of the late 18th and 19th centuries, and beyond. Special attention will be given to the ways in which the changing objectives of the museum (e.g. moral elevation, public instruction, mass entertainment, propoganda) are reflected in the architecture, design and display techniques developed in different counties in different times. Students should develop an understanding of the relationship between museums and concepts of national and cultural identity, focusing on their development within Australia. This will include visits to appropriate sites and institutions.
Biennales, Triennales and Documentas12.5
Biennales, Triennales and Documentas
This subject examines the exhibition of contemporary art in international survey exhibitions since the 1960s, delineating the methods that curators and directors have tested in response to the needs of art museums, bureaucracies, artists and publics across a range of geographic settings. The subject will examine a sequence of exhibitions from Australia and overseas, including early, national pavilion-based Venice Biennales, the director-driven 1970s Documentas, the 1980s global circuit of Biennales (including Sydney's), the newer Asian biennales (including Brisbane's Asia-Pacific triennials), the commercial art fairs (Frieze and the New York Armory Show). The subject considers these exhibitions' impact on contemporary art, as well as the roles of sponsorship, philanthropy and exhibition directors.
The Power of Ideas: Ten Great Books12.5
The Power of Ideas: Ten Great Books
Great books teach us how to describe experience, how to evaluate it, and how to imagine its liberating transformation. They deepen our engagement with critical traditions of thought that extend back through time and, by doing this, they enable us to better understand and address key issues facing the world today. Emboldened and impelled by the voices of great thinkers and writers, we gather crucial lessons on leadership, empathy, moral capacity, critical thinking, cultural complexity, social difference, creativity and innovation and arguably the very meaning of being human. Given what we can do in the world today, great books also help us to think about what we should do. This subject provides a critical introduction to ten great works on the basis that answers to the challenges of our era won't simply come from technical skills, managerial capacity or datasets alone, but from a developed knowledge of the powerful ideas that underpin literature, history and philosophy.
Arts & Communities: Histories & Sites25
Arts & Communities: Histories & Sites
This subject entails the comprehensive exploration of theoretical, historical and philosophical frameworks within which Arts and Community Practice is located. Classes will examine the subject's emphasis on the history, philosophy and contemporary contexts of arts and community practice; principles of community development; concepts of culture, identity, community and diversity; as well as investigating the role of the artist. The program of enquiry will also incorporate:
concepts of art, engagement, culture and creativity, and the diversity of contexts for arts and community practice;
concepts of community, such as communities of location, commitment and interest to emergent communities, such as those on-line or transnational communities; and
relationships of community practice to histories of cultural development, art and social justice, and contemporary art.
This subject will explore the diversity of arts and community engagement practice across local, national and international contexts.
Memory Cultures12.5
Memory Cultures
The aim of this subject is to explore a theoretical history of remembrance in contemporary culture. We will begin by considering the massive transformations in cultural memory brought about by modernity. From this starting point we will consider the trajectories of cultural memory from Freud's curative hypotheses to the dominance of amnesia and trauma as tropes of memory in contemporary culture. Students will be expected to read and explore both theoretical accounts of contemporary cultural memory and to produce specific studies of the ways in which mechanical reproduction, testimony, the bureaucratic and state archive, film, monuments, museums, digital technologies and other cultural products and institutions have formed and continue to form contemporary cultures of remembrance.
Cultural Studies in Asia12.5
Cultural Studies in Asia
This subject focuses on the emergence of cultural studies as a distinct disciplinary formation in Asia over the past twenty years, and introduces students to this new field's key approaches to the analysis of contemporary cultures. It introduces recent work on intra-Asian cultural flows, colonial histories, postcoloniality, neo-colonialism and cultural globalisation in the Asian region, and explores cultural studies' engagement with emergent Asian public cultures. Students will learn about current approaches to sites and practices including television drama, popular and new-wave cinemas, new social movements, popular music and urban space across locations that may include South Korea, China, Taiwan, Japan, Philippines, Singapore and India. On completion of this subject students should have an understanding of the major directions in cultural studies scholarship in Asia today.
Cultural Studies Now12.5
Cultural Studies Now
This subject will introduce students to the current state of the discipline of Cultural Studies. Students will be oriented in relation to the major theoretical traditions, methodological approaches, empirical and political pre-occupations, and national traditions in cultural studies. We will do this by considering particular contemporary configurations of cultural studies in relation to specific research problems. Students will develop both a synoptic sense of the shape of Cultural Studies now and focused expertise which will enable them to engage with some of the most significant contemporary problems from cultural competence and equity to cultural sustainability.
Serial Storytelling12.5
Serial Storytelling
Students will read a range of fictional and non-fictional serial narratives written in the late 20 th and early 21 st centuries for newspapers, radio, film and television, such as Maupin's Tales of the City books, Miller's Mad Max films, or Breaking Bad. Students will analyse these texts with a focus on the relationship between serial distribution and storytelling form, and with particular attention given to historical transformations and new developments. Students will also read critical approaches to serial narrative concentrating on textual forms, genre, criticism, technologies of production and distribution, industrial formations of production and distribution, cultural contexts, and modes of audience engagement. Students will work to devise a concept outline for an original serial narrative for print, audio or screen (e.g. television series or podcast series), and write selected installments.
This subject is only available to students admitted to the Bachelor of Arts Honours (Creative Writing), Graduate Diploma in Arts (Advanced) Creative Writing, the Master of Creative Writing, Publishing and Editing, Master of Global Media Communications, Master of Marketing Communications, or the Master of Arts and Cultural Management.
Australian Theatre and Performance12.5
Australian Theatre and Performance
This subject is a study of Australian performing arts from 1960 to the present with a special focus on the shift from national drama to diversity, and from drama to performance, framed by the changing landscape of Australian culture. We read selected plays in relation to context, genre, and performance history; view DVDs of live performance; engage in online and library-based archival research; undertake detailed textual and performance analysis; and investigate the role of performance as a mediation of cultural life. The subject is arranged in sections including a single-author study of Patrick White; the New Wave of the 1970s; Indigenous Dramatists such as Jack Davis and Jane Harrison; the 21st Century stage including Lally Katz; and postdramatic theatre including Back to Back Theatre and Version 1.0.
Professional Speaking Communication12.5
Professional Speaking Communication
This subject is designed for graduate students who would like to improve their spoken English skills for professional contexts. It is aimed at speakers of English as an additional language.
Students who complete this subject will become familiar with Australian English pronunciation, will develop confidence and self-awareness, and will improve the clarity and fluency of their speech for use in professional communication. The content covers various aspects of pronunciation, such as individual sounds, sound combinations, syllables and word stress, rhythm, sentence stress, connected speech processes and intonation. Students will also improve their listening-discrimination skills, develop an understanding of the basic processes involved in speech production and gain practical knowledge about the communicative nature of sentence stress and intonation, especially as they apply to workplace settings.
Advanced Self-Editing12.5
Advanced Self-Editing
The subject aims to improve students' ability to edit their written texts in order to produce grammatically accurate and stylistically appropriate texts for professional purposes. The subject begins with a review of the most frequent errors in the writing of students who speak English as a Second Language, including errors in morphology, syntax, cohesion, and punctuation, and then considers the impact that such errors may have on meaning. In the second half of the subject, students engage in linguistic analysis of a range of work-place texts (e.g. short reports, media releases). The aim of this analysis is to identify the most salient grammatical and stylistic features that contribute to the clarity of the texts. Throughout the subject students will engage in identifying areas of concern in their writing (annotation), self and peer editing exercises, keeping logs of their progress, and using available online grammar resources.
Professional Literacies12.5
Professional Literacies
This subject aims to develop effective written communication skills for use in professional workplace contexts. It is designed for graduate students, who are speakers of English as an additional language. Given the wide range of professional workplaces and modes of writing found within these, this subject aims to help students reflect on the different contexts and interactions that are at stake in professional reading and writing. It will do this by teaching students techniques of text analysis to assist them in identifying the conventions of a variety of genres encountered in the workplace. Students will also develop skills in structuring and writing texts that respond appropriately and flexibly to a range of communicative purposes and audiences. Particular attention will be paid to workplace modes of writing (including promotional and hortatory text types), and to the processes of collaborative professional writing.
Intercultural Professional Communication12.5
Intercultural Professional Communication
This subject enhances students' ability to communicate effectively and strategically in English-speaking professional settings in Australia and internationally. Students will acquire research-based discourse analytic tools to understand workplace cultures and norms of interaction, and develop practical skills in advanced spoken and email-based workplace interaction. Topics include opening and closing conversations, engaging in small talk, raising sensitive issues with peers and superior, making and responding to requests, complaints, and refusals from a position of strength and weakness, structuring short ad hoc speeches, participating in job interviews, and understanding cultural norms of humour, sarcasm and non-literal language use. There will be an emphasis throughout on intercultural differences and awareness raising of how cultural norms impact interaction.
Note: This subject is aimed at speakers of English as an additional language. It is not suitable for native speakers of English.
Writing for the Media12.5
This subject provides students with the skills to write at an advanced journalistic level. Lectures will present students with techniques that will enhance skills in interviewing, news judgement, narrative technique, researching, framing ideas, developing contacts and using off the record information. Students will also deal with issues of fairness and objectivity, plagiarism, libel and codes of conduct. On completion of this subject, students will have developed advanced skills in print and online feature writing.
Media Convergence and Digital Culture12.5
Media Convergence and Digital Culture
This subject offers an advanced critical examination of the impact of digital technology on contemporary media industries and cultural practices. We will examine the way the internet and new modes of collaborative production in the Web 2.0 environment are driving the transformation of all media sectors, including cinema, music, video, gaming and television. Through case studies in these sectors and close analysis of contemporary internet practices, students will engage with key debates about digital culture, including the transformation of audiences, the emergence of new media platforms, the role of peer to peer networks and social media and the changing nature of power in the digital era.
Online Community Management12.5
Online Community Management
This subject is designed to give students training in the knowledge and skills required to be effective online community managers. It presents advanced understanding of the theories, practices, responsibilities, and ethical considerations of managing online communities in participatory spaces, whether for brands or media organisations. Using practical examples and case studies it demonstrates the importance of excellent community management and engagement within the online communications space. Students will be given an opportunity to translate their knowledge into practice through assignments designed to engage them in the work of community management.
Social Enterprise Incubator12.5
Social Enterprise Incubator
Social enterprises are businesses that exist with the specific purpose of solving social and/or environmental problems through trade. These enterprises merge the best features of business and the non-profit sector to create innovative solutions that address both social and market gaps. Within these enterprises, success is thus measured in social and/or environmental terms, in addition to financial sustainability.
This multidisciplinary subject has been developed in partnership with Unbound, a Melbourne-based social enterprise leading innovative education programs on social change through entrepreneurship across the Asia-Pacific region. The subject equips students with a critical understanding of social entrepreneurship, and provides them with a practical opportunity to develop their own start-up social enterprise. Groups will be formed according to personal interest and students will work in small project teams to conceptualise, develop and pitch a viable social enterprise initiative. Students are also expected to test their idea in the marketplace in real time, for example, liaise with external organisations to receive feedback on your product/service and/or develop a minimal viable product that can be showcased.
To support the development of ideas, the subject draws from case studies, field trips and guests speakers from the Victorian start-up ecosystem that share their personal experiences and advice as successful social entrepreneurs. Students will also have the opportunity to receive direct support on their idea during a feedback salon with academics, business leaders and social enterprise practitioners.
Upon completing this subject, students will develop a critical understanding of the nature of social enterprise in contemporary society and the practical requirements for developing sustainable social enterprise projects. The subject also uniquely provides students with the opportunity to apply theoretical knowledge to real-world solutions in real time.
Contemporary Film Theory12.5
Contemporary Film Theory
This subject will examine the development of contemporary film theory from the post-1968 period to the present. Students will be expected to evaluate critically the significance of a number of the following theoretical approaches to an understanding of the cinema. These approaches will be selected from the following: semiotics, post-structuralism, feminist film theory, surrealist theory, psychoanalysis, post-auteurism, postmodernism, postcolonial, queer theory, and recent research in human/animal studies on screen. Students will attend seminars that involve a variety of approaches: close textual analysis, research, thesis writing and the presentations of papers.


Are GREs required for DI Program admission? No they are not required for the DI Program or for Sage Graduate School programs.
What are the selection criteria for being accepted into the SGS DI? Review the Admission Requirements for more information.
What is the minimum GPA required for acceptance? Minimum overall GPA of 3.0. Overall DPD Science & Professional GPA of 3.2. DPD Science GPA of 3.2 preferred.
Does the application process require an interview? Yes, interviews are held via Zoom.
Does an applicant have to apply to the graduate school? No, unless a master's degree is desired then students can apply simultaneously or separately to the graduate school.
How much financial aid is available through the internship? Review the Tuition and Fees page for more details.
How will students be placed at the facilities? Do I have to secure the facilities and preceptors for where I want to do my internship? For the Onsite Track, the DI Director is responsible for this activity. Refer to the main Dietetic Internship page for more information. For the Distance Track, this is the responsibility of the intern.
What is the exact cost of the program overall? The cost varies depending on your living situation. Review the Tuition and Fees page for more information.
Is there a standard recommendation form that Sage uses or may I use the standard AND form, when applying for the Dietetic Internship? Sage Dietetic Internship uses the AND standard recommendation form. Refer to Application Process to access the form and online application process.


Most oil and gas professionals agree that our industry would benefit if the public had a better understanding of energy topics. Young professionals (YPs) can play an important role in this effort.
TWA's energy education survey showed that 82% of SPE members believe that classroom presentations are the most effective way to educate the public about energy topics. Mobilizing SPE's 90,000 members globally to make energy-related presentations is a cornerstone of the Energy4me program. YPs are especially needed as classroom speakers because students relate best to someone closer to their own age.
Energy4me is SPE's global energy-education outreach program offering factual, unbiased resources to preuniversity students, teachers, and the public through speaker programs, teacher-development resources, and the energy4me.org website. Energy4me answers such important questions as: How much oil is left? Is petroleum engineering the career for me? How do the different energy sources compare with each other? And how does energy impact our daily lives?
The easiest way for members to get involved is by speaking in their own family member's classroom or at a school in their neighborhood. As a YP, you could begin by speaking at the secondary school you attended. Several YP groups have taken the lead on coordinating larger educational outreach efforts for their sections. The vast majority of SPE members who have visited classrooms have found it was a positive, rewarding experience and are willing to do so again.
Energy4me makes presentation preparations easy. The Energy4me Kit includes a speaker's guide, ready-to-go presentations, videos, and interactive classroom activities for primary, intermediate, and secondary students. Kit materials are available for free download from energy4me.org in Arabic, Chinese, English, French, Russian, and Spanish. A physical kit is also available in English for purchase. Each SPE section received a complimentary kit in January 2009 for members to use, and some sections have ordered more copies. Members are encouraged to personalize and localize the presentations.
Whenever an SPE member gives a classroom presentation, SPE donates to the school a copy of our Oil and Natural Gas educational book. This hardback book is colorfully illustrated and filled with short descriptions of the history and uses for oil, and how it shapes our world. Contact Energy4me with your presentation details 3 weeks before the event, and Energy4me will send you the book to give to the school. Educators can download free lesson plans that accompany the book on Energy4me.org, encouraging use of the book throughout the school year. The book is available in English, French, and Spanish, and will soon be available in Arabic, Chinese, and Russian.
SPE student chapters can also get involved in energy education by encouraging preuniversity students to pursue petroleum engineering at the university level. Participating in university career fairs or visiting their own secondary schools are easy ways to reach younger students. Energy4me provides members with free career brochures in quantities of up to 100 for these types of activities.
Oil and Natural Gas books and Energy4me Kits are available for purchase at energy4me.org. Many SPE sections and corporations have purchased these materials to give to their local educators or students. Corporations have also purchased the book for nontechnical or new employees. Several museums, such as the Houston Museum of Natural Science, are selling the book in their gift shops.
Energy4me is working on the next phase of SPE membership participation, which includes a program for SPE members to share the Energy4me program with school administrators.
Visit www.energy4me.org for more information or to learn ways to participate in energy-education outreach. You can be a powerful influence by talking with your friends, neighbors, and future energy professionals about why you joined the industry and how your work makes a difference in one of the most important challenges of our time—providing the energy the world needs.


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APRIL Members Chaewon And Yena Deny Former Member Lee Hyunjoo's Claim About The Years Of Team Bullying
They both said APRIL has always been a close-knit group, working toward a shared goal.
This article includes descriptions of bullying that may disturb some readers.
Following the recent Instagram update from the former member Lee Hyunjoo, regarding the team bullying allegation which was exposed in an online post by her younger brother back in February 2021, APRIL members Chaewon and Yena have taken to their own social media accounts to deny all the claims made in the update.
APRIL | @official.april/Instagram
Chaewon claimed that the period of time between the team's pre-debut to the former member's withdrawal had been difficult for all members, not just the former member. She also firmly stated, "No part of the claims of bullying, outcasting, physically and verbally abusing, and harassing is true."
A post shared by 😍APRIL채원💛허니챈🍯 (@chaeni_0824)
Hello, this is APRIL's Chaewon. First, I would like to apologize to the fans for making them worry about the number of rumors that have circulated. I'm sorry for having caused some concern.
I wanted everyone in APRIL to get along, as we gathered to move forward together toward a shared goal. I have never tried to turn members against each other in any way. After Somin unnie left the group, I became the oldest member in the team. So I tried to look after the members and stay reliable for everyone. In fact, I paid extra attention to Hyunjoo, who had both physical and mental vulnerabilities at the time.
Since pre-debut year of 2014 until after we debuted, everyone remained really close. My mom and Hyunjoo's mom even kept in touch regularly back then. I have evidence to prove this. I can only hope that Hyunjoo remembers, but I also believe the truth will be revealed soon.
Also, the claims being made against our manager are extremely unfair and untrue. It is simply impossible for the manager to have so much influence over how the agency decides to handle things. Plus, the manager was super stressed over Hyunjoo at the time. I have evidence for this also.
We were all young when we debuted. We were all immature. So we did have a hard time dealing with the changes at hand. We did not make one person suffer it all. We suffered it together. And I do not want to be the target of any more hate because of unreasonable claims being made. No part of the claims of bullying, outcasting, physically and verbally abusing, and harassing is true.
I wanted to reveal what I know about the situation only in court. So even though I felt like things are super unfair, I tried not to speak on it. Plus, I knew I shouldn't make rash decisions on my own so I waited. But I decided I can't sit back and watch any more. I'm going to make sure that the truth and only the truth gets out. I appreciate those of you who are patiently waiting to hear the truth. Again, I feel terribly sorry that I have to put the fans through this. That is all, thank you.
— Chaewon
In addition, Yena explained that it was actually the former member who "would always try to keep her distance from the rest of [APRIL]." Yena claimed the members eventually gave up trying to integrate the former member because she "always considered herself the victim, when everyone was facing the same difficulties," and because she eventually called out the rest of the team to be "bullies."
A post shared by APRIL YENA (@sheepyn_0824)
Hello, this is APRIL's Yena. I would like to apologie first for having concerned so many people about this. I wanted to wait on sharing my statement because I wanted to deal with it in court. But I decided to upload here because I can no longer tolerate so many rumors being circulated.
The members all began training at different times. But we shared a single goal and we worked hard toward accomplishing it together. The team 'APRIL' had been that goal. And in the process, we all went through things we did not have to go through. We all felt exhausted at one point and we all wanted to give up too. But we really held on for seven years and we endured it all. We were so young though. We could have all whined about how rough things are. But we never did. Instead, we kept working on our parts, focusing on our positions in the team.
Looking back, we were babies. We barely knew how to take care of ourselves. But as a team, as a group to stay together through the ups and downs together, we always believed in not letting go. So we said if someone falls behind, we would reach our hands out and pull the person back up. And we really tried to do this in every way we can. No matter how bad things got, we remained respectful of one another. We made sacrifices. We looked after one another when one of us got sick. We celebrated our birthdays together… We did everything together as a group, like you would expect any team members to do.
But I honestly felt like the member in question would always try to keep her distance from the rest of us. She always considered herself the victim, when everyone was facing the same difficulties. She continued to point fingers at us, calling us bullies, even in situations that happened unexpectedly.
Eventually, we decided we can't keep trying so hard if she isn't going to trust us anyway. But it was us who had to deal with the anxiety and the fear of not knowing what is going to happen to us. Maybe we failed to take good care of a fellow member who was physically and mentally vulnerable. But for that to be entirely on us, I think it is terribly cruel.
It's not like the other members always felt physically and mentally perfect. We're all humans too. We have had our fair share of physical pain and heartbreaks too. We've been through such painful moments together that other people simply cannot fathom unless they've been there with us. Yet people keep talking like they know more about us than we ever could. They keep saying things happened a certain way, when they don't know what actually went down.
Since the day the allegation broke, the rest of us are enduring all over again. How much longer will this pain continue? How many more times will we have to face situations like this? I really don't think I can recover from the wounds that I've gained from this experience. I'm torn that our seven years together have become so tainted because of a rumor that is not true. I'm terrified that I'm a bully of a person whom I have never bullied. I'm scared how everyone is convinced that we did the things we did not do.
Again, there has never been any bullying or physical/verbal abusing in the team. We all went through the same difficulties. Please, I don't want any more hate to reach the members and the fans. I know our families, fans, and friends have been more than supportive in trying to resolve this with us. I don't want my loved ones to suffer any more. And to do that, I will pull through this and reveal the truth.
— Yena
As Lee Hyunjoo's claim greatly contradicts the APRIL members' claims, the truth remains veiled. With DSP Media moving forward with the legal action taken against the former member, however, APRIL and Lee Hyunjoo fans can only hope that the investigation will soon reveal what really happened among the members.
Source: Image (1) and (2)
Lee Hyunjoo vs. APRIL's Bullying Allegations
APRIL Chaewon's Mother Makes Statement About Her Daughter's Bullying Accusations Made By Former Member Lee Hyunjoo
Lee Hyunjoo Reveals Legal Document Denying DSP Media's Claims Regarding APRIL's Bullying Controversy
DSP Media Releases Additional Statement About Their Lawsuit Against Former APRIL Hyunjoo's Brother
Police Reveals Why They Rejected DSP Media's Defamation Lawsuit Against Former April Member Hyunjoo's Brother
See the entire timeline (33)

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