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How Artists from the Vietnamese Diaspora Explore Notions of Home

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How Artists from the Vietnamese Diaspora Explore Notions of Home The Artist as Explorer: How Artists from the Vietnamese Diaspora Explore Notions of Home Author Dang, Dacchi Published 2013 Thesis Type Thesis (PhD Doctorate) School Queensland College of Art, Griffith University DOI https://doi.org/10.25904/1912/1119 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366661 Griffith Research Online https://research-repository.griffith.edu.au The Artist as Explorer: How Artists from the Vietnamese Diaspora Explore Notions of Home Dacchi Dang, candidate PhD Philosophy, Fine Arts Queensland College of Arts Griffith University PhD Exegesis August 2012 CERTIFICATE OF AUTHENTICITY The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in whole or in part, for a degree at this or any other institution. Dacchi Dang This work is dedicated to the Dang Family ABSTRACT My personal experiences as a refugee inform how I see the multiple geographical and social landscapes of Australia and Vietnam, and how I mediate a new sense of home from between these diverse experiences. In turn, this provides new knowledge and understanding of the physical and cultural terrain of both countries. Within my studio work I have used this approach to create or reinvent layered landscapes through my personal experiences and memories in order to explore how a contingent, illusive/elusive ‘home’, that has also performed the role of a mythical symbol of refuge in the Vietnamese diaspora, has been inexorably linked to identity and belonging. In my written work undertaken as part of the process of this candidature I have also examined the ways in which narratives of personal journeys within the diaspora experience have been described in ways that have avoided the usual negative associations of ‘refugee status’, and that have instead been undertaken via a more positive approach to interpreting that role as akin to that of the ‘explorer’. v vi ACKNOWLEDGEMENTS This research has proved to be a difficult process, partly because English is my third language, but also because as an artist I express myself primarily through visual texts and find it difficult to articulate my vision through written text. My past experiences of an interrupted education and the attendant fears associated with expressing myself in a society where English is the dominant language have only reinforced this. I feel a sense of achievement in completing this thesis, and am grateful for the support I have received from Griffith University through the Australia Postgraduate Award Scholarship. It has, in part, given me an opportunity to improve my written English language skills. However, there is much more that needs to be addressed in order to complete this task. What I have accomplished is beyond my expectation; part of that lies in the achievement that I, as a member of the Vietnamese diaspora, feel in being able to use English as a means of expressing my own experiences. Throughout this process, I used English language skills to create an agent through which to conduct my investigation and articulate my vision towards my research, which focuses on the notion of ‘home’ among certain Vietnamese diaspora artists. This new knowledge contributes to a better understanding between the Vietnamese diaspora communities and other communities within Australia. At a personal level, I gained self-esteem and confidence through extending my knowledge through the process of higher degree research. I implemented a strong relationship between theoretical and practical research throughout the candidature. As a result, this research will provide a solid foundation from which to expand my artistic practice in future projects. I would like to express my appreciation and acknowledgment of the roles played by my supervisors Professor Patricia Hoffie and Associate Professor Debra Porch, who provided ongoing support, understanding, and patience during the course of my PhD candidature at Queensland College of Art (QCA), Griffith University. In particular, I would like to thank Professor Hoffie; without her support and her capacity to listen, believe, refine, challenge, push and raise my theory and art studio practice to new levels, it would have been impossible to complete this candidature. I also thank Professor Ross Woodrow, Dr Craig Douglas, Dr Charles Page, Dr George Petelin, Siegfried Manietta and Russell Craig at the Queensland College of Art, Griffith University for their ongoing support. vii I would also like to thank a special person who made this thesis possible: my wonderful editor Janelle Evans who has generously provided extraordinary work and assistance over the past four years, not only through our long discussions, but also with new inspirations in written and studio work. My thanks go to Vivian Lai for her proofreading skills as part of the editorial team. Also I own a huge debt to Dr Damien March from the College of Fine Arts at the University of New South Wales, a personal friend, who not only offered long and numerous discussions to help crystallise my ideas but, who also made a significant contribution to the editing of my final thesis draft. I thank the curatorial teams of 4A Gallery and Campbelltown Art Centre for the Sydney Festival (Aaron Seeto, Lisa Havilah, Dr Thomas Berghuis, and Michael Dagostino), and their support staff (Summar Hipworth, Pedro de Almeida, Megan Monte, and Toby Chapman); the support staff at QCA (including Ben Byrne, Sandra Darling, and Naomi Takeifanga, as well as the staff in the Photography Department and the Studio Workshop); Metro Arts in Brisbane (Liz Burcham, Channon Goodwin, and other staff); the Contemporary Art Centre of South Australia (Alan Cruikshank and Peter McKay); Art Space (Blair French and Tracy Burgess); Fairfield Regional Art Centre (Cedric Boudjema); the Queensland Environmental Protection Agency (Roland Dowling, Trevor Mullen, and other staff) and Newington College (Dr David Mulford, Andrew Thompson, Pamela Hatfield and other staff). I would like to extend my appreciation to my friends, fellow artists, family and community members who assisted in the creation of my artworks Phoenix and Captain Van Dang in the Great South Land, in particular my father Dang Thanh for his calligraphy skills, Leonardo Cremonese, Libby Varcoe, Glenn and Crystal Conroy, Warren Hogden and Trudi Coutts, Janelle Evans, Damien March, Cathy Wieszmann, Chris Denaro, My Le Thi, Teresa Do, June Dang, Brenda Dang, Annie Dang and their families, Celeste and Curtis Ly, and members of the Chinese Vietnamese community in Sydney. Also I offer thanks to those of my friends who offered ‘tea and sympathy’ during endless discussions—Dr Estelle Castro and Katherine Olsten (both of whom patiently helped me with English language lessons), Dr Geraldine le Roux, Andrew and Dianna viii Thompson, George and Charis Schwarz, Stephen Hall, Alfredo Juan Aquilizan and Isabel Aquilizan, Jennifer Sanzaro Nishimura, Jun Nguyen Hatsushiba, Jennie Jackson, Jim Waller, and Lynden Stone. Last but by no means least, I would like to thank my family, especially my mother Thi Dam Nguyen, who have not only provided moral support and encouragement during my research, but who have also had faith in my ability to achieve my goals. This work is dedicated to them. ix x TABLE OF CONTENTS 1. ABSTRACT p.v 2. ACKNOWLEDGEMENTS p.vii 3. ILLUSTRATIONS p.xiii 3. INTRODUCTION p.1 4. CHAPTER ONE: The ‘Refugee’ Experience: A Personal Account p.5 5. CHAPTER TWO: Analysing the Complexity of Identity p.25 6. CHAPTER THREE Exploring History/Reclaiming History p.43 7. CHAPTER FOUR: Exploring the Notion of Home as a Place of Identity and Belonging p.77 8. CHAPTER FIVE: Choosing a Medium Appropriate to My Research: Explorations with a Pinhole Camera p.139 9. CHAPTER SIX: Where I’m At - Creating My Own Agency as an Agent of Change p.171 10. CONCLUSION p.197 11. BIBLIOGRAPHY p.203 xi xii ILLUSTRATIONS Figure 1: Duong Thanh Phong, 1975, Outskirts of Saigon, April 30, 1975, black and white silver gelatin print, reprinted in Tim Page, 2002 Another Vietnam: Pictures of the War from the Other Side, National Geographic Society, Washington, p.231 p.11 Figure 2: Dacchi Dang, 1994, Dang Family Former Residence and Business, Tan Binh, Saigon, black and white gelatin print, 11 x 14 inches. p.23 Figure 3: Dacchi Dang, 2008 The Twins: Banda Aceh, black and white silver gelatin print, 11 x 14 inches p.37 Figure 4: Dacchi Dang, 2008, Settlement: Taipei, pigment print, 11 x 14 inches p.39 Figure 5: Dacchi Dang, 2008, Tsunami Lake: Banda Aceh, pigment print, 11 x 14 inches p.41 Figure 6: Nerine Martini, 2006, Life Boat/Thuyen Cuu Roi, wood, steel, lead, lacquer, 65 x 335 x 505 cm, photographed by Suzie Lock, Retrieved 27 June 2012 from http://lh6.ggpht.com/- nwL6TnF7o0c/RzlgnJAsXfI/AAAAAAAAIfk/0zRuXErhFgI/IMG_243 4.JPG p.47 Figure 7: Dacchi Dang, 2001, The Boat, installation: timber, pigment print on Japanese paper, silk, 3.5m x 14m p.51 Figure 8: Dacchi Dang, 2001, The Boat, installation: timber, pigment print on Japanese paper, silk, 3.5m x 14m p.53 xiii Figure 9: Eddie Adams, 1968, Viet Cong Execution, Saigon, black and white silver gelatin print, Retrieved 23 June 2012 from http://theworldofphotographers.files.wordpress.com/2012/04/street- execution-of-a-viet-cong-prisoner-saigon-1968.jpg p.61 Figure 10: Jun Nguyen Hatsushiba, 2001, Memorial Project Nha Trang- Toward the Complex, for the Courageous
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