Last night the New Beginnings Refugee Arts and Culture Festival was launched with a beautifully curated exhibition on the theme of ‘the singular’ and ‘the plural’ aspects of being. The festival has expanded over the last couple of years to include exhibitions and a series of participatory cultural events at different times in the year, as well as the flagship free outdoors community whole-day festival event at Tumbalong Park, Darling Harbour (save the date – 18 Nov).
I got to chatting with festival producer and Arts Coordinator at Settlement Services International (SSI), Carolina Triana, at the opening of Singluar/Plural. She commented about the importance of being able to respond to need and not be tied into a pre-existing model for the festival. The festival is re-imagined to a degree each year to best serve the artists and communities it was established to support. In her welcome speech, she said the festival is “all about the art” and this was clear by the quality of the exhibition itself as a whole. The mission of the festival is spelled out on its website:
The New Beginnings: Refugee Arts & Culture Festival is a celebration of the artistic vibrancy, cultural expressions and heritage of people from refugee backgrounds
Singular/Plural showcased exactly that and presented it from various viewpoints – the individual as artist, the artist as teacher in the community, artists in collaboration, community participation and celebration of heritage. The call out went to artists both from refugee and non-refugee backgrounds; the open-ended, non-prescriptive approach to curation ensuring different, inclusive, multi-dimensional, pluralistic takes – both by artist and viewer. This is the sort of exhibition I love – not being guided or coerced towards any pre-determined end point; not being asked for any action. Just a gentle invitation to enjoy, contemplate, experience.
Some stand out pieces for me were:
SOCIAL RESPONSIBILITY AND DIVERSITY IN THE ARTS/MEDIA LANDSCAPE
Scrolling through my Facebook feed to get my early morning “news” fix, this thread on the Diversity in Australian Media public group, caught my attention. The page admin (and film/tv producer/director) Ana Tiwary, had posted a video that calls for the stereotyping of Muslims in the media to end. What ensued in the comments was a bit of a stoush between her and Kostas Nikas (also a film-maker/director/producer).
Kosta, never one to shy from expressing an emphatic opinion online, challenged the call for writers to be charged with the task of producing socially responsible content, highlighting the importance of artistic licence. Ana responded by pointing out that the post was meant for those creators who care about the impact that their work has on society more broadly to begin with – especially in terms of producing work that may propagate dominant, damaging stereotypes, leaving even less room for alternative stories and voices. Both of them make important, valid points. And both, though from different starting points, were advocating for a broader, bigger, more nuanced conversation around social responsibility in the arts/media landscape. Continue reading
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!
Originally published here. February 1st 2016
Last Sunday I went to the theatre. It was a show that had caught my attention earlier in the week in my Facebook feed. Urban Theatre Projects was posting about it. The Belvoir was posting about it. It had popped up in several status updates of friends, too.
The name didn’t give much away. But the promo shots spoke volumes. At least they did to me. Now, I’m a keen consumer of the arts and culture, from screens to stages and concert halls to the streets; and I’m a self-defined ‘cultural omnivore’, so my palette thrives on the alternative and diverse, but when a man clearly of ‘Middle-Eastern appearance’ (actor Hazem Shammas) hits my feed accompanied by words like theatre, Belvoir, Surry Hills and Muslim-Australian, it tweaks my interest in a special kind of way. Read on and you’ll understand why. Continue reading
Things I loved about Superwog‘s show, ‘Fake It Til You Make It’ at Enmore Theatre last night:
- The ‘hero-ing’ of the word ‘wog’ – not just the reclamation and reappropriation of it.
- The audience was 99% wogs – where else do you see that at the theatre? This speaks volumes about representation. We’re drawn to characters that reflect or represent us and to stories that are relatable.
- The way the stereotypes are stretched so far that they become absurd and (very often) ridiculously hilarious.
But I have a problem with Superwog. Continue reading
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