LightWaves, The Mapping Exercise and Envoy 2222, presented as part of ’10 Nights in Port’ ·
Various locations, Fremantle ·

I know it sounds cheesy, but when I first moved to Freo, I felt like I was on holiday all the time.

My partner (who, admittedly, is Canadian) and I would sit in our tiny backyard, marvelling at the salt encrusting our suntanned arms and revel in what I labelled “the coastal awesomeness”. I’d lived in Perth for a decent chunk of my life, but this felt entirely new – the constant whiff of the sea; the old limestone buildings; the grubby glamour of the port. Eight years later, I still get a contentedly touristy feeling when I’m nipping around town.

‘Ten Nights in Port’ is a celebration of Perth’s seaside twin. Comprising a diverse range of installations, music, workshops and theatre, this mini-festival is a welcome mid-winter diversion for those brave enough to face the August storms.

In a town where water feels omnipresent, art work LightWaves is a perfect visual motif.

Entering Notre Dame’s Drill Hall, participants are greeted by a huge screen, fronted by a large white expanse. In front of you the screen fills with blue, your ears alert to the sound of rippling water, underscored by an ominous hum.

The sucking swell pulls gradually away, the tower of water builds, crests and falls, rolling towards you in a slow motion of fizzing foam. As the wave breaks, the white expanse you’re standing on is flooded with virtual seafoam, visceral enough to tempt you to run for the shore. The white froth dissipates, the water sucks back in and a new wave forms, this time a clear curl of aquamarine.

The installation is by West Australian outfit Frankensound, aka audiovisual artist, musician and producer, Roly Skender, in collaboration with South-West surf photographer Ren McGann. Skender’s soundscape mingles the menace of the ocean with its beauty, the sounds and music an evocative accompaniment to McGann’s incredible footage.

I found myself walking in closer to the screen, enjoying the scope of the towering waves above me. Turns out, it was even better sitting on the floor, surrounded by the foaming bubbles.

Audio art is really having a moment isn’t it? There’s something so wonderfully intimate about hearing stories through headphones, particularly those of a personal nature.

The Mapping Exercise is a series of local stories – there’s a new story released for each day of the festival – each connected in some way to Fremantle. The stories are billed as site-specific, but you could actually enjoy them anywhere.

They’re personal stories, heavy on historical anecdotes, but also giving intimate insight into particular Freo locals. One of my favourites is Adam the Autistic Gentleman, who shares his love of performing, his hometown and his family with equal passion. His astute observations and gleeful honesty are utterly refreshing. “If I wasn’t autistic, I’d be rather insufferable!”

Another joy is Bo Weng’s tribute to the women in her family, beginning with her grandmother “the only non-Italian in her class” and concluding with her mother’s inspiring tale of the power of education.

There’s a welcome reluctance on the part of producers Marnie Richardson, Meri Fatin and Anita Walker to focus on the stories of the Freo-famous, but local musician Bob Gordon slips through the gate with his entertaining tale of his sometime home, The Local Hotel. There are ten stories in all, each with its own unique connection to the place they call home.

My last sample of the many delights on offer at “10 Nights in Port” was another audio special – Envoy 2222, by Noongar actor Cezera Critta-Schnarrs and designer Bryan Woltjen, with soundscape by Envelope Audio. This is a series of whimsical walking tours around Freo’s centre, based on the premise that it is the year 2222 and you are able to return to 2022 through something called “Fungal Lattice Technology”.

Just go with it.

My first experience was a bit of a mis-step – Future Cat was narrated by a pretty annoying cat (I don’t even like cats – what was I thinking?) and I managed to become quite lost, wandering fruitlessly around a sodden Esplanade Park.

The next map I chose was far better – The Journalist navigated you through a dystopic future via South Mole. The narrator’s hushed tones like a paranoic pal in your ear, the journey was part mystery, part romance. It was a story I wanted to continue long after the 15 minutes were up.

Part paen, part wintertime diversion, “10 Nights in Port” further consolidates Freo’s reputation as a hub of artistic experimentation.

Don your raincoat and forgo the umbrella… you’ve got the rest of the windy week in which to treat yourself.

10 Nights in Port continues until 21 August 2022, at locations throughout Fremantle.

Pictured top is ‘LightWaves’ by Frankensound (Roly Skender) in collaboration with Ren McGann. Photo: Tashi Hall