Doreen Warburton’s theatre legacy is everywhere

A note placed on the seats at the official opening night, July 19, of The Incredible Here and Now, Riverside Theatres, Parramatta gave the news –

Doreen Warburton, 1930 -2017, Founder and Artistic Director Q Theatre

Doreen Warburton and Q Theatre played pioneering roles in the development of professional theatre in Western Sydney

National Theatre of Parramatta dedicates the remaining performances of The Incredible Here and Now in her memory

How often have you attended a funeral where family and friends burst into applause? Tears and laughter, yes, but applause – not just once, but many times? Such was the occasion of Doreen Warburton’s farewell and celebration of her life last week. Doreen died aged 87, July 19, 2017. See the SMH obituary – Evelyn Doreen Warburton OBE, Doreen Gabriel. Actors, family and friends described her as larger than life, charismatic, impassioned, blunt, hugely generous, mother to so many of them, a brilliant artist, administrator and director. She was driven by a fierce sense of social justice and a determination that anyone could be inspired and transformed by their experience of theatre. Doreen grew up in wartime England and trained with the radical Joan Littlewood Theatre. The photo, above, was posted by The Joan Sutherland Performing Arts Centre. – the present day home of the Q. Remembering a life well lived.

During a period of four years in the mid-1970s, Doreen pioneered a program of bringing theatre workshops and productions by the Sydney based Q Theatre into western Sydney suburbs. Their focus was young people – exposing them to performance opportunities and providing them with theatre skills, while simultaneously building future audiences for the theatre they planned to establish in the region. It was Penrith Council that eventually offered the use of the old Railway Institute and it was there that the Q Theatre made their home. Above, Doreen, right, opens the Q Theatre in Penrith in 1977, accompanied by the Mayor of Penrith, Eileen Cammack.

At the funeral, David Hoey described his excitement while a student at Colyton and then Rooty Hill high schools, when he discovered the chance to participate in those first Q Theatre workshops. He participated in some of Q’s subsequent productions and had a “brain explosion” when given the chance to work with the team producing the local rock musical St Marys Kid and another home grown musical story Zilch. Hawkesbury costume designer Leone Sharpe provoked laughter when she described her alarm and apprehension as a 20 year old, when her efforts to restore a hair piece for Doreen went wrong. Right, Doreen as Lady Bracknell in a costume later made by Leone.

Hania Radvan is CEO of Penrith Performing and Visual Arts Ltd (PP&VA) which incorporates the Penrith Regional Gallery, Joan Sutherland Performing Arts Centre, Penrith Conservatorium of Music and the Q Theatre. Although she never actually met Doreen, she described her influence as everywhere – in their workshop and performance programs, especially for children and young people.

In an interview earlier this year, producer – Q programs, Nick Atkins said, “The Q is the Joan’s, theatre-making arm. My job, and the role of The Q, which sits inside the building, is to produce and develop professional local theatre. We make theatre for and from the heart of Penrith. We respond to what the local community wants to see, whilst also ensuring the voice of this community is pushed out into the world. We get to export stories as well as import them. Like others, he was a local high school student at Emu Plains, who was inspired by his exposure to Q Theatre, and went on to study a practice based theatre course at University of NSW.

In March this year he produced Black Birds, a new work by Emele Ugavule and Ayeesha Ash, exploring what it means to be a woman of colour in 2017 in Australia, it’s their personal stories. “The traditional way of theatre is very white, very Western, and very European, which clashes with their experience of the world,” he said.

“We have an artist in residence program. We offer four two-week residencies in our studio. So it’s two weeks space and $2,000 in financial support, and well as drama and technical support from the centre. We also have Propel, which is a play writing program, for 16 to 25-year-old emerging playwrights, in partnership with Australian Theatre for Young People (ATYP) and WestWords. Originate is also for 16’s to 25-year-olds. But it’s more for performance majors and actors. It’s an ensemble project. Eight artists are brought together over three months and create their own work.

Q’s partnerships and influence are everywhere. From August 10 to 12 The Joan wants you to forget your troubles, come on get happy. How to make a happy meal is a new devised performance created as part of The Q’s Originate project and involving two recent WSU music graduates.

“This year we have a new project called Highway 234, which is another residency program, it’s in collaboration with PYT in Fairfield and PACT in Erskineville. The objective is to see how can we not just empower performers here, but link them in with other centres – because as an artist, it’s great to have your home, but you need to start linking in with other networks.”

Q Programs are a true extension of Doreen’s philosophy, but the more things change, the more they stay the same. Western Sydney still struggles with the same inequitable funding distribution as it did in the 1970s. Nick says, “One per cent of federal funding is being used to try and open up a platform for 10% of Australia’s population to have either some experience in culture, or express their culture. That’s why the programs we run are so vital.”

Independent actor/director Aanisa Vylet, right, last week completed one of the new Southlands Breakthrough Artist Residencies at the Q by sharing a 15 minute excerpt from her new show The Woman and is deeply grateful for the opportunity. “In commemoration of Doreen Warburton, I will continue to create theatre that ‘…opens doors and windows to people’,” she says.

 

 

(Photo Credit, the fab Julie Koh)

Roslyn Oades – Abbotsford Convent

Breaking new ground in telling our own stories through theatre and writing

More and more people are telling the stories of western Sydney and regional New South Wales. Felicity Castagna won the Prime Minister’s Literary Award for Young Adult Fiction in 2014 for her debut novel The Incredible Here and Now. With a spare writing style she evokes a picture of the inner life and thoughts of Michael a teenage boy in Parramatta, who undergoes the sudden loss of his older brother and its impact on his family and his own growing up. It’s a gentle story of a quest for understanding and finding his place in the world and is filled with intimate glimpses of his home and family and the places where he hangs out with friends.

Yes, there is drama, but the story is more about Michael’s responses to it rather than the events themselves. The Incredible Here and Now has a quiet, meditative quality about it so it will be very interesting to see how it makes the transition to the stage. The National Theatre of Parramatta commissioned Felicity to create a play of the same name from her novel, which opens at Riverside Theatres, Parramatta, on July 13 and runs to Saturday, July 22. For Felicity, it has been a great learning curve as she works with directors Jeneffa Soldatic, right, and Wayne Harrison. Jeneffa herself grew up in Sydney’s south west, at Ingleburn, and feels that Michael’s teenage experience has many similarities to her own. To make her way in theatre, she had to leave Sydney for New York, where she graduated from the Actors Studio in 2004 and became one of only a few Australians to be accepted as a life member.

Felicity says, “I’ve been attending shows at Riverside Theatres for more than 15 years. To see my own work on stage there, in my own community is such a privilege. The support and guidance provided to me by National Theatre of Parramatta, has been incredibly important in developing my own career as a writer and as a voice in the community that I love so much.”

“Fundamentally,” she says, “it’s a play about language and silence. Our personal grief is such a fundamentally hard thing to articulate whether you’re a teenage boy or a mother. That grief therefore, needed to be expressed in the visual language of the play; a box, a stack of pancakes, an older brother who is not there anymore but continually returns to stage like a memory that is always in the back of one’s mind.”

Performing the lead role of Michael is Bardiya McKinnon, above, (TV’s As the Bell Rings and In Your Dreams) and as Dom, Alex Cubis (TV’s Mako Mermaids and Rake). In addition, The Incredible Here stars Caroline Brazier, Libby Asiack, Olivia Simone, Ryan Peters and Sal Sharah. Information and bookings.

Two young women are taking the concept of storytelling across the regions of NSW to new heights. Natalie Wadwell, left, of south western Sydney and Lucinda Davison of the NSW south coast have been developing a comprehensive website State of the Arts – SOTAau – for the last two years. They “support the next generation of Australia’s storytellers”. It’s a big vision and requires a lot of work and financial investment. This year, Natalie was a recipient of a Layne Beachley Foundation ‘Aim for the Stars Scholarship.’ This money was put towards SOTAau to gain legal support and redevelop their platform. SOTA is also among the first initiatives to be supported by Arts Initiatives Australia – an organisation aimed at making Australian arts more sustainable.

You can now explore the prototype of SOTA’s new platform. Over the next six months they will be shortlisting and targeting five areas, the independent artists within and the organisations servicing them. This will help them learn where the platform can improve and how they can scale it to effectively service the vast geography that is greater western Sydney, regional NSW and the ACT.

They provide publishing opportunities for writers based in suburban and regional areas and access to a growing network of mentors and other creatives to help build sustainable career pathways. SOTA is a social enterprise: a business that generates profit for a social purpose. They say, “Local writers are best positioned to share experiences of art and culture.” Watch this space!

Counter vilification and stereotype by getting to know the individual

1-khaled-sabsabi-majority-minorityWhat can we as individuals do if we don’t accept the torrent of vitriol, racial abuse and false information currently swirling around us? Quite a lot, really, if we are prepared to be steadfast, patient and respectful. Artists and arts activists in western Sydney have been travelling this path for many years. Through their art forms they have offered insights into what it’s like to belong to one or several different cultures and how that may find individual expression through their personal experience. As artists reveal aspects of their lives, we witness vulnerability, a search for the infinite, for meaning and understanding. Insights may challenge assumptions about each other and leave audiences and participants more open to new ideas and understandings.

Khaled Sabsabi is a western Sydney artist, who was awarded the inaugural Western Sydney Arts Fellowship in 2016.  He migrated from Lebanon with his parents as a 12 year old in 1978 as a result of civil war, and settled in western Sydney. His personal experiences of conflict and dislocation in Lebanon and then in his adopted homeland of Australia, led him into deep social engagement. Independent curator and editor of Artist Profile, Kon Gouriotis wrote in 2014, “As a young artist, Sabsabi began experimenting with sound and poetry within the hip‐hop group COD (Count on Damage) in Granville NSW. He gradually moved to sound tracks for short and feature films, his last work was for Cedar Boys (2009). Yet it was to be media that eventually connected his sound and images . . .”

khaled-sabsabi-majority-minority-with-carmel-and-konFairfield City Museum and Gallery is currently hosting a solo exhibition of Khaled’s work, Majority/Minority, which Kon  officially opened in January. It encompasses three works which reflect on the complexities of migrant experience in western Sydney and the way in which minorities have gradually become the majority in areas like Fairfield. Kon, centre above, with gallery coordinator Carmel Aiello and Khaled Sabsadi. Top, is a still from Khaled’s two channel video Wonderland (2014), one of the three works in Majority/Minority.

In 2003 Khaled returned to Lebanon for the first time. He was profoundly affected by his exposure to the origins of his Islamic Sufi lineage. Kon considers that some of the Sufi teachings would have resonated deeply with Khaled, “especially an individual’s right to imagine the infinite”. It is generally understood that Sufism predates Islam and was connected to Zoroastrianism. Khaled uses the online name of peacefender and has worked extensively in detention centres, schools, prisons, refugeee and settlement camps. Among many awards, Khaled is a recipient of the Blake Art Prize, Helen Lempriere Travelling Art Scholarship and an Australia Council for the Arts Community Cultural Development Fellowship.

In the last year alone he has participated in group exhibitions in Yinchuan City, China; Blacktown Arts Centre, NSW; Artspace, New Zealand; and at Bait Al Shamsi, Sharjah, UAE.  Next Saturday, February 25, from 1pm to 3pm, Kon will be in conversation with Khaled at Fairfield Museum and Gallery. They will discuss Khaled’s exhibition Majority/Minority and some of his recent practice and reflect on the broader role of the arts and cultural sector in western Sydney. You are invited to attend and to participate with questions and discussion. RSVP to museumgallery@fairfieldcity.nsw.gov.au or call 9725 0190 by Thursday 23 February. Complimentary refreshments will be provided.

You don’t havejason-wing-within-arms-reach to look far in western Sydney for other examples of thought provoking work by artists of sometimes demonised minorities. Within Arms Reach was the poignant and haunting work, right, created by Jason Wing for The Native Institute, a 2013 exhibition at Blacktown Arts Centre. Jason is an artist of Aboriginal and Chinese descent, who was evoking the anguish of Aboriginal parents who camped outside the 19th century institute fence in the hope of catching a glimpse of their captive children.

wagana-woodford-academy-with-n-trust-0117Wagana Aboriginal Dancers from Katoomba, under the leadership of Wiradjuri descendant Jo Clancy, continue to explore traditional culture and create contemporary dance works. They are developing cultural knowledge and confidence among their young members and sharing their understanding with local and international audiences. Here they are at their first performance for 2017 at Woodford Academy, managed by the National Trust. Later this year, they will perform at the World Indigenous People’s Conference in Toronto, Canada.

The politically-charged marriage equality debate is the subject of a new dance performance at Riverside Theatres, Parramatta. In Difference is a production of Form Dance Projects and Riverside in which leading dance artist Craig Bary in-difference-preparationhas drawn together a gifted artistic team. Here they are working on ideas and choreography, right, in preparation for a brief season, March 2 to 4, at 8pm.

“Marriage equality is a real issue for real people so we are making this work for them, and hope to make a significant contribution to the debate in the most creative and inspiring way,’ says Bary. ‘We will also bring the real life of the performers on stage to create a compelling, vulnerable and open environment for the audiences to connect with.”

We all have a need of connectedness, of belonging. Is there really any difference between the needs of a same sex couple and a heterosexual couple? In Difference promises a penetrating and poignant demonstration that dance can communicate important issues and make a social and political impact.

sydney-world-music-chamber-orchestra-rehearsalOther examples of work that defy the stereotypes and demonstrate the riches that come with experience of individual stories abound in western Sydney. Sydney Sacred Music Festival, now in its seventh year, is under the direction of musician Richard Petkovic. Over time, he has gradually assembled a whole range of highly trained musicians from many cultural and religious backgrounds, who are also frequently refugees. Their explorations of contemporary expressions of ancient traditions is continuous, where they share the transformative power of the sacred as distinct from the potential divisiveness of the religious.

1-dth-media-releaseWestern Sydney Literacy Movement – Sweatshop based at Western Sydney University, will launch associate director Peter Polites’ first novel, on March 5. Down the Hume is queer-ethnic Western Sydney noir, the first of its kind, and is published by Hachette, one of the biggest publishing companies in Australia.

Check out Natalie Wadwell’s latest blog post where she reflects on Resilience, it’s a cultural thing and promotes Jon Hawkes’ argument that culture should be the fourth pillar of sustainability. He proposed in 2001 that culture is not an additional policy or a strategy, but a framework through which we assess social, environmental and economic strategies. Natalie links this to her recent experience of a Resilient Sydney workshop.

National Theatre of Parramatta is just one more of many fine examples of companies that seek to defy stereotypes by presenting stories from diverse cultural communities. Still only in its second year, it has already met with great success.

Arts, sport and pushing back against fear

1-hakawati-team-and-ntopI could kick myself that I’m too late to get a seat for Hakawati, right, National Theatre of Parramatta’s show currently part of Sydney Festival. On the other hand who could begrudge NTofP‘s sold-out success at El Phoenician Restaurant-Bar and the enthusiastic reviews? Hakawati draws on ancient Arabic traditions of entertaining through story telling while sharing a meal, at the same time offering insight into contemporary issues with a powerful western Sydney twist. The show has proved so popular that a return season is planned for later in the year. Click on this link for notification of dates when they are advised..

I was more successful in booking for Champions, at Carriageworks, this week, where the skills of contemporary dance and soccer collide. Directed by Martin del Amo, assisted by Miranda Wheen, Champions tells the story of an all female soccer team and their preparation and performance in a drama filled match. Blurring the boundaries between the elite skills of 1-1-champions-form-dance-projects-photo-by-heidrun-l_hr-webdance and sport, the team worked with coaches and athletes from Western Sydney Wanderers. Channel Seven sports presenter Mel McLaughlin provides analysis and commentary in the show. If Champions, left, has anything like the qualities of previous Form Dance Project productions, including the linked Dance Makers Collective’s Dads, last November, it will be enthralling, thought provoking and highly entertaining.

Providing background to my thoughts about these and many other productions engaging western Sydney artists are the heartfelt observations of two such creatives shortly before Christmas. The first is Aanisa Vylet (below right preparing for Daisy Moon Was Born This Way to be produced by The Q at The Joan, Penrith in 2017, photo by Alana Dimou) – gifted actor, director, adventurous and generous spirit. That’s also Aanisa in the bottom right hand corner of the Hakawati photo above, where she has been dramaturge to the production. On December 21, she posted on her blog Secrets : From one artist to another. Do read it.

aanisa-daisy-moon-q-2017-photo-alana-dimou“I feel like we are living in a very unpredictable and frightening political landscape. I have had this idea sitting in my chest: to write a blog of secrets and tips that I would whisper to a fellow artist…to offer support. So these are some values and strategies that have kept me going as an actress, artist and outsider for the last 11 years . . .”

I’ll leave you to read the 10 points for yourself, but her final note is illuminating. “I will share one last secret…at the beginning of this year, I told myself – “Ok, so this is your last chance to be an actress/artist, you need to give it your best shot and if you don’t land something and if your play turns to shit – you need to find another career and accept it. This is your last shot. NO HOLDING BACK.

“I have not had the time to write a blog this year because I have been overwhelmed by the abundance of what I have experienced. I still had moments where I was  afraid, mistrustful of myself and of the the world at large. What if I eliminate all fear?”

1-natalie-dec-2016On a related theme are the writings of passionate community activist and creative entrepreneur, Natalie Wadwell, left. Natalie is concerned that the arts are not valued in the community in the same way as sport and yet their contributions to physical and mental skills, imagination, social cohesion and much more have many features in common. She wants to see more artists of all disciplines engage directly with communities, take courage in forging their own pathways and enlarge our understandings of our shared humanity.

She is continually putting her words into action. With her colleague Lucinda Davison, they have established a website State of the Arts. It has a big vision – “It aims to bring together creatives, art writers, performers, musicians and art organisations to investigate, engage and promote the diversity of creative initiatives and cultures. From the northern plains to the southern basin of NSW, including Greater Western Sydney and the ACT, State of the Arts will be a guide from country to coast.” Now they are advertising for help in developing their website.

natalie-web-developerState of the Arts web developer [PAID OPPORTUNITY]
Help State of the Arts refine our platform and shape new features to be launched in April 2017. Live, work or playing across Western Sydney or Regional NSW is not essential, but desirable (we want to support local).
If you or a mate you would highly recommend is interested send us an email with the subject line ‘I can web, mate,’ and three samples of recent work.”

Like so many others, Aanisa and Natalie are determined to push back agains the clouds of fear constantly under discussion in mainstream and social media. Working collaboratively, talking openly and honestly about concerns and sharing explorations towards better understanding are just some of their tools. Fear can engender more fear which just ends in paralysis. I love the Bernard Shaw line famously only half quoted by Prime Minister Malcolm Fraser in the 1970s, “Life wasn’t meant to be easy . . .  my child, but take courage: it can be delightful.”

Yes, this blog does have a future – building on each other’s achievements!

Well, hello again! It’s more than two months since my last post. In that time, I have been sorting and culling files, books and other records and generally downsizing. Many were used in the writing of my book Passion Purpose Meaning – Arts Activism in Western Sydney, published in 2013 and in the subsequent publication of this blog Western Sydney Frontier – beginning in 2014. Simultaneously, it has meant a chance to reflect on the last 45 years of arts and cultural development I have witnessed and the monumental changes that have occurred across the region.

1-bsa-collective_blank-slate

In the midst of this period, I was honoured to open the first exhibition of the recently formed Blacktown Studio Artists Collective, Blank Slate. It is a perfect illustration of what has happened in that 45 years. Distance and isolation remain facts of life, but population growth, cultural diversification, growth in social infrastructure like education and the arts and the determined advocacy of hundreds of passionate individuals has produced  extraordinary change.

Above is Blacktown Sun’s photo of the exhibiting artists, Jan Cleveringa, left, Nazanin Masharian, Suzannah Williams, Rosalind Stanley and Alex Cyreszko. Nazanin says “Blank Slate is a metaphor for the collective; we’re not sure what we’re going to be yet. We’re open to the energy of the group and what comes up,” They are all well educated, widely experienced and willing to explore their own histories in a context of local and global issues like displacement by war and colonisation, the impact of changing technologies, and climate change. They came together under the auspice of Blacktown Arts Centre and are also committed to Blacktown and its future.

ian-zammitThen last week I had the immense pleasure of an evening of conversation over dinner with two inspirational people, Ian Zammit, left, and Natalie Wadwell, right below. Our evening resulted from both of them contacting me after I questioned whether this blog has a future. Having reached the age of 75, I am increasingly reminded of my own mortality and the need for me to pass on the baton of networking, support and promotion. Both Ian and Natalie grew up in western Sydney. Each was creative and imaginative, but frustrated by the limited opportunities available locally. Ian grew up in Emu Heights, pursued music and theatre studies and completed an honours degree at Middlesex University in the UK, in 2006. He returned to live in Penrith and for five years worked at Carriageworks arts centre in Redfern. Then he took a gamble on working full time to develop Emu Heights Theatre Company with a group of local artists, teachers and business people and the support of his wife Michelle. The company survived five years of successful productions and work with local schools, but decided to close last year when facing unending struggles for money and resources.

Far from giving up, Ian recognised the need for more collaboration and mutual support among theatre people and established Theatre Links in the West, which meets monthly and shares theatre information through its Facebook page. His track record is leading to increasing professional employment opportunities for him in Penrith and Liverpool performing artsNatalie Wadwell - ARI forum.

Similarly, Natalie has been confronting the frustrations and challenges for young people in her local area and continually investigates, analyses and instigates creative solutions. With an appetite for learning, strategic thinking and a commitment to improved opportunities, she established an online presence with Wadwell Initiatives, giving her own background as a writer and creative instigator and a summary of her projects, writings, ideas and vulnerabilities. She has a Bachelor Art Theory/History (First Class Honours), UNSW Art and Design (2012-2015).

Earlier this year, she graduated with 16 other young people from the inaugural accelerator program conducted by the School of Social Entrepreneurs for young people wanting to drive social change in Western Sydney. Now, she is working with Lucinda Davison, founder and editor of the online publication State of the Arts to develop the site as an online platform promoting a more inclusive arts and culture conversation across New South Wales. “It aims to bring together creatives, art writers, performers, musicians and art organisations to investigate, engage and promote the diversity of creative initiatives and cultures. From the northern plains to the southern basin of NSW, including Greater Western Sydney and the ACT, State of the Arts will be a guide from country to coast.

State of the Arts brings together the broad experiences of art and culture “out there” to take art off its pedestal, because culture is everywhere.” Natalie is determined to ensure that western Sydney is well represented and the platform provides scope for lots of participation. Do check it out and consider contributing. State of the Arts is a more than worthy successor to Western Sydney Frontier and for the time being, we can gladly cross promote each other’s posts. In the meantime, those people who left generous comments supporting the continuation of my blog can feel pleased.

wagana-becky-chatfield-and-jo-clancy-2016While most of the arts and cultural achievements in western Sydney are the result of sustained collaborative effort and many disappointments, some require even more commitment than most. For Becky Chatfield, above left with Jo Clancy of Wagana Aboriginal Dancers in the Blue Mountains, there are daily encounters with casual racism and denial of her own deep sense of identity. Statements like “Aboriginality is just unnecessary. It’s not really in the best interests of Aboriginal people. It’s not good for Aborigines to remain Aborigines.”

A week ago on Facebook, she posted “I tossed up whether or not to watch First Contact last night but decided I had to, the issue is too important. So many people saying ‘ignore it, don’t worry about it, give it no energy’. But unfortunately, I feel that I must indeed give energy to it and I believe we all should, because David Oldfield is not the only one with these sickening views, Australia has many people who think the way he does and I can’t close my eyes to it. I have a responsibility to my daughter and to all of our children to at least try. I will continue to spread the beauty of our culture, and I will call out the bullshit.
I want change and it won’t come unless we actively tackle the situation together.”

Then out of the blue came a contact from Anton Arets, an artist I hadn’t seen for 30 years. It was followed by a completely unsolicited response to my book Passion Purpose Meaning – Arts Activism in Western Sydney  – one that reflects the views of Ian and Natalie. “I have Blog - PPM book coverjust finished reading it. It is such an excellent, well researched and insightful publIcation . . . This book will help everyone contemplating a career in any of the many art forms and cultural support networks, to appreciate that its not an easy road, that there will be challenges, disappointments, limited budgets, rejections, lack of community support and opportunities – just to mention a few.. But they don’t have to reinvent the wheel. They need to build on the foundation set by the many dedicated artists and artisans before them, and capitalise on every opportunity that presents itself or is even self created, regardless of how small it appears on the surface. Effort always pays dividends.

“Just thinking….. What the book highlighted in my mind, amongst other things, was how the Aboriginal community and also the European/Asian Migrant population, the New Australians, were basically told to bury their identity or ‘shut up and fit in..’  Art gave them their voice back, and helped them research and regain their identity as individuals worthy of dignity and respect. Its a voice we cannot afford to lose.

“As the powers-that-be continually implement and endorse the time tested quality of not listening to the general populace, this may end up being the only voice we have.”

In officially launching Blacktown Studio Artists Collective exhibition Blank Slate, I gave each of the artists a copy of Passion Purpose Meaning – Arts Activism in Western Sydney to thank them for their inspiration to the rest of us and to let them see themselves as part of a rich continuum of creative arts development in western Sydney. They work in a wide range of media to give expression to their ideas. Blank Slate continues at Blacktown Visitor Information and Heritage Centre in the original Blacktown Primary School, Civic Plaza, Flushcombe Rd, Blacktown, (across from Blacktown Library), until January 28, 2017. Open Tuesday to Saturday, 10am to 3pm.

It’s a pleasure to know that Ian Zammit and Natalie Wadwell are looking forward as much as I am to getting together again early next year. All good wishes in the meantime.

Creative artists present nuanced views of conflict, causes and consequences

ntop-qanonAward wining film director George Miller says, “. . . art is at its best when it allows catharsis through story telling and a nation is at its best when it provides a refuge for humanity to heal and flourish.” It seems that this observation is relevant to three arts events due to launch across western Sydney, where negotiating multiculturalism and difference is a daily  experience.

The first is Diaspora-Making Machines opening at Blacktown Arts Centre, on Thursday, September 29. The second is a public dialogue between writers Ellen van Neerven and Michael Mohammed Ahmad under the provocative title Black and Lebo. The third is The Cartographer’s Curse, a new production created by National Theatre of Parramatta, which explores the complexities of political and social divisions within the Middle East. Above is an image of the qanun, a Middle Eastern instrument featured in The Cartographer’s Curse. Director Paula Abood explains qanun is the origin of the English word canon, encompassing the lore and law of a society.

In Diaspora-Making Machines eight artists of diverse cultural backgrounds explore some of “the systemic devices (the machines) that generate movement and the dispersal of communities (the diaspora).” From the earliest days of the colony, Blacktown has been a scene of continuous waves of migration. Some were forced, like the Aboriginal and Maori children sent to be “reformed” at the 1823 Blacktown Native Institution, and others like migrants and refugees who made new homes there by choice.

1-blak-douglas-bac-for-diaspora-making-machinesOffering an Aboriginal perspective on the exhibition’s theme of Blacktown’s historic place as a centre of migration, attitudes to newcomers, and notions of belonging and assimilation is Blak Douglas, who grew up in the area. His work, left, Pipe Dreams (Part A), suggests a challenge to the role of the church as a systemic device in the dispersal of Aboriginal communities. Another of the artists is Mehwish Iqbal, who grew up in a small town in Pakistan where art wasn’t even taught in the local school. Nonetheless, she defied traditional expectations to complete a Bachelor of Fine Arts at the National College of Arts and then moved to Dubai. In 2006, she moved to Australia with her family where she completed a Masters degree at the College of Fine Arts UNSW. Mehwish has undertaken international artists residencies and has a keen interest in themes of integration, assimilation and separation experienced by migrants living in Australia and issues faced by under privileged children in developing countries.

The other artists are Jumaadi, Nerine Martini, Susannah Williams and Warren Armstrong, Luping Zeng and his son Cheng Zeng. Diaspora Making Machines will continue at Blacktown until Saturday, November 5.

ellen-van-nervanBlack and Lebo promises a lively discussion between two award winning young writers, Aboriginal author Ellen van Neerven, right, and Michael Mohammed Ahmad, below, left. Ellen won the NSW Premier’s Literary Awards Indigenous Writers Prize, among other awards, and has just published a new book Comfort Food, a collection of poetry. Michael is the director of Sweatshop – Western Sydney Literacy Movement, a talented actor, and a doctoral candidate at the Western Sydney University Writing and Society Research Centre. He has won several awards for his work and for his debut novel The Tribe. His second novel The Lebs will be published early next year.

Ellen and Michael Mohammed.AhmadMichael will discuss the intersections between race, faith, class, gender and sexuality in contemporary Australian literature, give performances from their latest works and take questions and comments from their audience. Black and Lebo takes place on Friday, September 30, at Western Sydney University, Bankstown campus, Building 3, Room G 55. The event is free with lunch provided and everyone is welcome, but RSVP is essential.

Prof Ghassan HageFrench and British colonialism of the early 20th century in the Middle East is the starting point for The Cartographer’s Curse. Invasion, colonialism and conflict have been common experiences for centuries among people in this region, where borders have undergone frequent change, according to who holds the power. A century ago, it was the British and French who drew lines on a map to divide the area according to their own interests. The consequences continue to reverberate and have led many people to seek refuge elsewhere in the world. Under the guidance of Paula Abood, history is imagined through spoken word poetry and prose, parkour movements and qanunic music. Among the characters are the cartographer, the wandering professor, the poet, the resistance, the merchant and the master of the qanun. The professor is played by Ghassan Hage, above right, an actual Future Generation Professor of global stature.

1-ntop-cartog-curse-thistle“This ensemble captures the very best of Arab Australian artistry in all its different expression,” Paula says. “Each performer in The Cartographer’s Curse brings a particular prowess and this makes for an exciting performance.” The coupling of the melodic quality of the qanun with the edginess of Parkour movement, she describes as “artistically very exhilarating.” The thistle, left, grows throughout the landscape of the Middle East and could easily be perceived as a metaphor for resilience and survival. The Cartographer’s Curse opens at Riverside Theatres, Parramatta, on Thursday, October 5 and continues only until October 8.

Opportunities galore!

And now we are six! A new baby in the household means that blogging has to take second place to grandmotherly duties, so just brief notes on a fantastic range of opportunities:

ICE - ISLAM I AM

ISLAM. I AM | EOI closes Friday 5 August

ISLAM. I AM will be a ground-breaking series bringing together Muslim filmmakers to tell stories about contemporary Islamic life in Australia. The series will be created for ABC1, produced by Jungle FTV in association with I.C.E.

Muslim filmmakers, artists, storytellers are invited to submit a proposal to be considered for the next stage of development and production.

Submit your Expression of Interest here! 

CPAC - Staging StoriesSTAGING STORIES: ADULT SOLO THEATRE WORKSHOPS, Casula Powerhouse Arts Centre,
Mondays | 8 August – 12 September, 23 September and Tuesday 4 October
7 – 9pm | $150 for 8 sessions

Facilitated by respected theatre professionals, STAGING STORIES is a solo theatre workshop designed to unlock your potential as a both a writer and performer and put your story in the spotlight. Building over a series of weeks, STAGING STORIES workshops will give you an overview into performance and storytelling like you’ve never experienced, providing you with an opportunity to develop your confidence, expand your network and explore your ideas. Bookings.

— FROM PAGE TO STAGE —

Putting the nation on stage, National Theatre of Parramatta is calling for expressions of interest to its inaugural playwriting program

NT of P Joanne Kee“National Theatre of Parramatta is committed to building an ecosystem for the theatre in Western Sydney. It is harder for our artists to be visible beyond our communities. We know that we have stories that resonate beyond these geographic limitations. We are providing a platform to not only showcase these artists but also to develop additional networks and skills that will enable them to fine tune their craft. We are offering a chance for Western Sydney voices to be heard,” says Executive Producer of the National Theatre of Parramatta, Joanne Kee, left.

Presented in association with Playwriting Australia, From Page to Stage is a free program that provides playwrights with a unique opportunity to hone their skills whilst aiming to assist new Australian works come to life on the stage.

Ten applicants, with a demonstrated commitment to writing, will receive guidance from some of the industry’s best playwrights and facilitators. Commencing in October, the 15-month course includes mentorship, tutorials, workshops and script development opportunities. Participant’s plays will also be considered for inclusion in the National Theatre of Parramatta’s annual season and the National Play Festival, Playwriting Australia’s major industry showcase of new Australian works.

NToP - logoRiverside Theatres’ resident company, National Theatre of Parramatta, is committed to capacity building in Western Sydney. With the launch of From Page to Stage, National Theatre of Parramatta will further nurture and develop committed writers who live and/or work in the region.

Applications for From Page to Stage close on 28th August. For more information and to apply, visit: https://riversideparramatta.com.au/NTofP/engage/from-page-to-stage

At last your chance to respond to the proposed National Heritage Listing of the Parramatta Female Factory Precinct: Submissions

Parramatta Female Factory Precinct - heritage listing

FORM DANCE PROJECTS – Fostering Dance Culture in Western Sydney

CALLING CHOREOGRAPHERS AND DANCERS 21 & UNDER

SHARP SHORT DANCE IS BACK!

Sharp Short Dance is a dance festival that unearths the best up and coming talent in Sydney.  The festival celebrates dance in all its forms and encourages young aspiring choreographers and dancers to showcase their work to industry professionals.

Choreographers can enter one work to each heat, which are curated by genre:

Heat One Jazz, Tap, Lyrical
Heat Two Classical, Contemporary
Heat Three Hip Hop, Street, Cultural

This year selected finalists will be awarded secondments with Sydney Dance Company (Pre-Professional Year), Bangarra Dance Theatre, Dream Dance Company and Shaun Parker & Company.

“This program is one of FORM’s best and that’s why we are awarding an industry placement with the Dream Dance Company. I can’t wait to see what talent emerges this year.”
Marko Panzic, Director – The Dream Dance Company

REGISTER NOW
For registration forms and info visit form.org.au
DVD, Youtube and Vimeo applications preferredForm Dance - Choreographers - Photo - Dom O'Donnell

REGISTRATION CLOSES
17 OCTOBER

REGISTRATION FEE
$15.00

HEATS 1, 2 & 3
15, 16 & 17 NOVEMBER 7:30PM

FINALS
19 NOVEMBER 7:30PM

Registrations via form.org.au or  this downloadable form.

Photo : Dom O’Donnell