Abstract The conclusion reflects upon the role of fashion and material culture in the fabrication of dance costumes and summarizes key concepts articulated by the book. Across the twentieth century, the chapters have linked specific choreographic practices with the production of textiles and dress in American mass culture. With a focus on textiles, silhouettes, and fabrication, these material artifacts of creative labor have significance in performance, and their diversity highlights the function of costumes as legacy objects for dance history. In particular, this chapter argues that the curation of costume archives plays a critical role in our understanding of the politics of dance, dress, and fashion culture. Moreover, the mobility of the dance costume as an aesthetic object remains a material trace of creative practices that need more attention in dance studies. The Coda that follows this chapter draws upon the writings of Hannah Arendt to argue that fabrication is the invention taking place in a work of art that exceeds the reductive role of the commodity form.

ABSTRACT Established by adapting ex-military facilities and in use until the early 1980s, Commonwealth migrant hostels were conceived by the Australian federal government as transitory on-arrival accommodation and provision for assimilatory practices. The paper investigates the role of architecture in relation to the modes of nation-state hospitality exercised in Commonwealth migrant hostels. Its focus is the addition of purpose-designed hostel buildings at the Villawood Migrant Hostel in Western Sydney in the late 1960s. Designed by the firm Bunning & Madden, the housing blocks were part of a nationwide programme to improve resettlement facilities to aid continued migrant recruitment. There was a gradual shift from accommodation associated with military cultures to facilities more resembling domestic dwellings equipped with modern household conveniences, which helped project images of increased government hospitality. Discussed in tandem with the new designs are government-sponsored representations, departmental concerns, and newspaper coverage of the facilities and residents at Villawood. Recurrent tensions and racialised narratives surrounding the types of hospitality offered to incoming populations are contextualised against the construction of national identities as well as trends in residential architecture in circulation at the time.

ABSTRACT This paper explores the ways that three built-environment academics have developed design studio pedagogies which engage students directly with First Nations people through real-world projects. It explores how relationality is integral to supporting the aspirations of First Nations projects in the context of design studio teaching. The authors argue that whilst their pedagogies necessarily differ in relation to the specifics of context and Country of each project, the shared approach to pedagogy is underpinned by recognition of sovereignty of First Nations and collaborating with community representatives who are active agents in the project through the process of socialisation. The ways in which these design studios facilitate the envisioning of First Nations projects becomes critical to understanding diversities among and within First Nations communities.