CALD ARTS FUNDING AND POLICY: THINKING OUTSIDE THE ‘CULTURAL DEVELOPMENT’ BOX
A couple of months ago I was asked to consult on funding strategies, to research relevant grant opportunities and to help write grant applications for a local “multicultural” (they self-define this way) arts festival that takes place in the Inner West of Sydney. I attended this festival, now in it’s 6th year, just last year for the first time and absolutely loved it, so was happy to help out.
Actively seeking financial support for this sort of arts activity again reminded me of the challenges faced by artists and arts organisations practising under the cultural and linguistically diverse (CaLD) arts label; not the least of which is the binary attitudes and dichotomous dialogue around the value of CaLD arts and indeed their validity as serious/professional, contemporary artistic practice. Continue reading
They’re artists, activists, peacemakers, protestors and performers. They’re word whittlers – especially skilled in carving against the grain. Their art is hewn from music and poetry and their own cultural inheritance. And what excites me the most about them is that they’re re-mapping the borders that define what it is to look/sound/be an Australian artist today.
They’ve been getting some well-deserved attention in the mainstream media but if you haven’t heard of them yet, take some time to follow some of the links below. But let that just be a start!
Qanun, oud and Vietnamese zither meet alternative/indie/rock in Bankstown. Does that tweak your curiosity? It did mine.
In a nutshell this album is the product of two artistic residencies undertaken in Bankstown by Toby Martin through Urban Theatre Projects (UTP). Read about the origins of the project here. Listen to the artists interviewed on ABC RN here. Buy the album here. It’s worth every cent and more.
In the radio interview (link above), Martin says that the album isn’t documentary, but to me it feels part documentary, part social and political commentary. Continue reading