Features, Festivals, Forums, Lectures and Talks, News, Opinion, Visual arts, Workshops

Artists take aim at canon

Perth artists Gabby Loo and Steven James Finch will be exploring a new approach to the Western canon of art and culture at this weekend’s Disrupted: Festival of Ideas. Entitled “Epistemicide in the Western art canon”, their workshop is about making visible the alienation experienced by people of colour in the face of this cultural monolith. Nina Levy spoke to the pair to find out more.

Gabby Loo and Steven James Finch. Photo: Tasha Faye.

Nina Levy: Tell me about yourselves and your artistic practice.
Steven James Finch: I am an early-career community artist with migrant settler heritage living on stolen lands. I have an ongoing concern about care, culture and ethical art practices in the face of ecological collapse and climate disaster. I recently become interested in decoloniality of the illegal state of Australia and solidarity with First Nations people.

I have edited literary journals, built and lived in nomadic off-grid structures, curated festivals and visual art exhibitions, produced Fringe performances, written and performed poetry, literature and performance art. Throughout I have tried to constantly ask what is the best way of living and caring for each other and for all beings? How can we be good, curious, just and truthful?

Gabby Loo: I am an emerging multidisciplinary artist and community arts facilitator based on the stolen lands of the Whadjuk people of the Noongar nation. I am a second-generation migrant of Shan and Hakka ancestry.

In my personal arts practice I enjoy visually exploring my intersectional identities and autobiographical histories, of past and future self. I tend to accompany these ideas with fictionalised and surreal elements. I currently explore these ideas through illustration, comics, photography, textile works and small sculptures.

I am a co-director of Paper Mountain, creator of the CaLD & ATSI Creatives of WA online community group and I co-coordinate the ongoing community arts project Belonging with Aisyah Sumito, a local artist and curator. Belonging is a Noongar boodja-based community arts initiative with an aim to provide a safe space for artists to express ideas of self and identity, to make art, and have a voice with a particular focus on platforming Culturally and Linguistically Diverse (CaLD) and Aboriginal and Torres Strait Islander (ATSI) youth. We host communal workshops, meet ups and forums.

NL: What has shaped your artistic practices?
SJF: During my degree, when I thought being an author was a relatively straightforward process of releasing books, I developed an interest in the ethics of Soren Kierkegaard. Ethics for me became tied to aesthetics and interrelationality or spirit. I roughly remember Kierkegaard describing the ethical way as watching the face of someone who is perfectly responding to an imperfect but youthful actor on stage. So, for me, initially, creative practice and meaning-making is tied into ideas of being good and living ethically. So, instead of a solitary writer I’ve become committed to helping others express themselves. I have learned from running a magazine with my peers and putting in a lot of volunteer hours; from living off-grid in a nomadic structure in a backyard, hosting dinners about the end of the world; from running an artist run initiative; and from doing all of this while living in economic precarity.

What really helped me get to where I am today is meeting and working with incredible and good people, like Gabby Loo, Amber Boyatzis, Vidya Rajan, Claire Bushby, Alina Tang, Janet Carter and people on the dotdotdash and Paper Mountain team, people from Aunty Mabel’s Zine Distro. This led me to a key moment in 2016 when I was doing a short course with the Centre for Cultural Partnerships at the University of Melbourne, when Tania Cañas was a tutor, and spoke of how Western pedagogy and education had led to this widespread epistemicide, the death of the diversity of knowledge. From that moment, I began to take my community arts work more seriously. In speaking with our collaborators from the “Seasons, Histories, Hopes” exhibition at the SLWA, I have learned so much about who I am and what knowledge I can share with my cultures and communities – one of which, from Walter Mignolo and others, is the idea of decolonial aesthetics.

GL: In 2017 I graduated from UWA with a Fine Arts Major. I’ve been a freelance independent artist and community arts facilitator ever since. As an artist of colour I am driven to create change in the Perth arts and foster culturally safe spaces for marginalised identities.

My arts practice was shaped by personal experiences of art as therapy, a means of self-empowerment and self-acceptance. As a gender queer young person of colour, my lived experiences are laden with intersectional discrimination and the battle against harmful effects this has on my well-being. As I move towards my future, with my past as a reminder in my back pocket, I’m always learning how to unpack the internalised harm and decolonising my modes of thinking and foster positive attitude of self-realisation for myself and others.

My lived experiences and learning from peers who have also been through similar experiences are very relevant to the core of my practice, guiding how I work with individuals in communities and build creative communities which value cultural safety and decoloniality. As an artist based on stolen Whadjuk Noongar land, it is my hope that I can support creative spaces that foster intercultural solidarity, amplify the voices of BIPOC folx (Black, Indigenous, and People of colour), and learning the truth about our cultural histories (colonial erasure and Western Euro-centrism sucks big time!).

NL: How did you meet? And how did you come to collaborate?
GL: We met while volunteering at Paper Mountain, an artist-run-initiative and gallery on William Street in Northbridge. One of the first projects we worked on was during KickstART Festival 2017 for WA Youth Week. Steve, who was the Festival Coordinator at the time, asked me to run a community workshop series and exhibition for migrant and refugee background youth, supported by OMI, Propel Youth Arts WA and North Metro TAFE. It was then that the ongoing community arts project Belonging was born.

SJF: I approached Gabby to ask if they wanted to run a series of art workshops for the Office of Multicultural Interests. It was all a bit last minute, and a process that was a bit stressful for Gabby, but they really stepped up. Belonging became a beautiful ongoing project. For the State Library exhibition, I spoke to Gabby as I was applying for the fellowship. Initially we were going to do two separate individual projects, but as we spoke together and organised community gatherings, we realised that the project needed a many-voices approach to the idea of Asian identity in WA, and so it became a group project we co-facilitated.

NL: You recently co-curated and presented Seasons, Histories, Hopes at the State Library of WA, a group exhibition about Asian migrant history in WA that is the culmination of the year-long research project Imagined Migrant Future. In the exhibition catalogue you talk about how the project evolved over the year. Can you talk us through that process of evolution, and what the project uncovered for you?
GL: The Western framework of archives, libraries and museums use the white gaze to constrict the living cultural practices and everyday objects of people into palatable stereotypes and racist imaginaries.

SJF: We entered the State Library space knowing this, but also assuming that people who work in the GLAM (Galleries, Libraries, Archives, Museums) Sector would be aware. What we found were State Library materials, signage, and processes that seemed unaware of the inherited racist structures they were replicating. We also experienced racism from some staff members; people who would tell us our research project was misguided or unimportant in focusing on Asian migration, or who would assume that we did not belong in the staff areas or that we must be cleaners. Our fellowship itself was named after James Sykes Battye, chief librarian of the State Library, who in his Cyclopedia of Western Australia only mentions Chinese people once, and that is in reference to there being a State budget surplus and a discussion by the government on acquiring cheap labour to further increase the surplus. I wish to mention that there were also staff members who were helpful and professional, that this is not about a series of isolated incidents, but about how ongoing racist structures are perpetuated by administrative organisations.

GL: Despite these disheartening experiences there was always a strong feeling of hope when we met with our exhibiting artists. Sitting together and discussing with other non-white people our struggles with racism, both external and internal, our specific cultural knowledge and histories, and being heard as humans rather than as racialised identities was incredibly empowering. We have documented a lot of our experiences and our histories in  the documentary Imagined Migrant Futures by Michelle Vuaillat and our exhibition catalogue.

NL: And you will be presenting a workshop this month as part of the Disrupted Festival of Ideas: Epistemicide in the Western Art Canon. Firstly, for those who don’t know, what is epistemicide?
SJF: Epistemicide is the colonial act of killing knowledges. It is a term used by Boaventura De Sousa Santos in the book Epistemologies of the South: Justice Against Epistemicide to describe how colonial powers destroy language, ancestral ties, memories and culture of subordinated groups. We’ve found this term useful in understanding current monologic expressions of culture. As local artists we’ve found that there is a violent process of meaning-making predicated on erasing and writing over the lived cultural truths of First Nations people and People of Colour that is, unfortunately, quite prevalent today, even from well-meaning individuals. And so we feel this is a much needed conversation to be had with our community.

NL: And what will the workshop involve?
SJF & GL: During the workshop we will be looking at the following ideas:

  • Unpacking the constructions of truth, particularly as defined by Western Euro-centric efforts at universal truths through the erasure of cultures, languages and diversity.
  • Specific histories that uncover cultural bias and theft, particularly during the Enlightenment and Modernity.
  • Identifying and discussing international/local decolonial art histories and repatriation efforts.
  • The effects of representation on lived and racialised bodies.
  • Reference to other efforts in decolonial thought and activism.
  • Fun!

NL: Who do you hope to see at the workshop? 
GL: We hope to meet an array of people who are art admirers, artists and art workers. They do not need to have any training/experience. However, we hope those with a keen interest in truth-telling will attend and learn how our histories are documented and shaped through art.

SJF: Anyone that has ever, like me, been seduced into liking Western culture and the Western art canon, and as a result have gone through periods of real self-doubt and self-hate and shame and racial dysphoria. This space is for you. These are the truths that have always been there. Your lived experience, your cultures, your childhood: they are all as valuable and deserving as any of this.

Disrupted: Festival of Ideas takes place at the State Library of Western Australia on July 27 and 28. It is a free event. 

“Epistemicide in the Western art canon” is fully booked but you can join the waitlist here.

 

Pictured top: Gabby Loo. Photo: Giselle Natassia Woodley.

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Calendar, Interactive Experience, July 19

Virtual Whadjuk | NAIDOC Week

7 – 13 July @ Yagan Square ·
Presented by Yagan Square and Periscope Pictures ·

Go back in time and experience Whadjuk Noongar culture first hand. Immerse yourself in a smoking ceremony, be welcomed to country and witness the moment European ships arrived. Virtual Whadjuk is a free virtual reality event being held as part of NAIDOC Week. Suitable for ages 13+. Presented from 10am to 2 pm.

Proudly supported by the Metropolitan Redevelopment Authority, City of Perth, Museum of Western Australia, Screenwest, Screen Australia and the Western Australian Academy of Performing Arts.

More info:
virtualwhadjuk.com.au/

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3 female actors depicted playing their character
Calendar, July 19, Music, Performing arts, Photography, Theatre

Theatre: The Other Side

13 – 27 July @ Victoria Park Centre for the Arts ·
Presented by Life on Hold Productions ·

Photography, music and theatre come together this July to highlight stories rarely seen, shedding light on a destructive and demoralising way of life. Presented by Life on Hold Productions at the Victoria Park Centre for the Arts, The Other Side takes audiences through a photographic exhibition, matched with carefully selected music, before culminating in a play about Kate. Kate is a troubled woman who has suffered a great tragedy and is portrayed during different stages of her life by three actors.

Directed by Siobhán O’Gara, the play shows how Kate arrived at her tragedy, her experience of living it and how the event affected her years later.

The Other Side plays at 7.30pm July 13, 19, 26 and 6pm and 8pm July 20 and 27.
Tickets are $25, $20 concession – book at www.trybooking.com/BCRNK. Photos on display will be available for sale. Victoria Park Centre for the Arts is at 12 Kent Street, East Victoria Park

More info:
www.trybooking.com/BCRNK

The Other Side focuses on the troubled Kate, played by three actors during different stages of her life: Sarah Christiner, left, Meredith Hunter and Jane Sherwood.

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Panel of 3 with audience
Calendar, Forums, June 19, Writing

Forums: WA Writing and Publishing Sector Forum, 2019

20 & 21 June @ City of Perth Library ·
Presented by Writing WA ·

The annual WA Writing and Publishing Sector Forum, curated by Writing WA, provides sector practitioners with the opportunity to network and to discuss current trends, issues and opportunities in the sector.

The Forum spans two full days and each day has been structured in two halves – morning and afternoon – so that you can attend both days, a single day, or any combination of half days that you prefer. Choose the ticket type that best suits you, your schedule and your areas of greatest interest.

Thu 20 June morning: The Business of Writing
Thu 20 June afternoon: 360 Degree Content – New Platforms and Adaptation
Fri 21 June morning: Updates From Our Backyard
Fri 21 June afternoon: Writing About Art

See the full program and ticketing options on Eventbrite.

More info
W: www.eventbrite.com.au/e/wa-writing-and-publishing-sector-forum-2019-tickets-61623897737
E: regional@writingwa.org

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News, Perth Festival, Prose, Reviews, Theatre

Making America Great Gatsby again

Perth Festival review: Elevator Repair Service, Gatz ⋅
Octagon Theatre, March 1 ⋅
Review by David Zampatti ⋅

It’s impossible to claim that Gatz, Elevator Repair Service’s heroic word-for-word performance of F. Scott Fitzgerald’s The Great Gatsby, is a reaction to the state of America under its current president (after all, the project was conceived under Clinton and first performed under Bush II).

But I doubt if anyone who experienced this demanding, adventurous, beautiful, funny, desperately sad tour de force of theatrical daring and skill during the dying days of this year’s Perth Festival would have failed to feel the sense and personality of Trump reverberating uncannily through it.

ERS performs The Great Gatsby in its entirety, and without a single additional word of dialogue. For the record, the performance of those roughly 50,000 words takes 360 minutes (there are three intervals, one long enough for a meal). According to one ready reckoner, Fitzgerald’s novella (he insisted it was a novel for commercial reasons, complaining that novellas didn’t sell) takes a minute under three hours for the average reader to complete.

There’s little needs saying about the story – it’s a known commodity: the mysterious, obsessed tycoon and the woman he (foolishly but inevitably) loves to his death, and the damage they do, as reported by a decent, ordinary man who fell into their web, ensnared by their charm and his timidity.

It’s hard to believe that performing a novel word for word could work so perfectly on stage, but Gatsby is no typical novel. As Gertrude Stein wrote admiringly to Fitzgerald: “You write naturally in sentences.” T.S. Eliot, for whom compliments did not come easy, was also a fan. He read Gatsby three times, repaying, I think, a compliment Fitzgerald had paid him through the novel’s tone and sensibility – Gatsby may be the great American novel, but it is also its Waste Land.

That natural economy of Fitzgerald’s phrase and structure makes the transition to the spoken word and the stage easy. Whether it’s in the long narrations that Nick Carraway (Scott Shepherd) delivers, or in the dialogue between the book’s characters – Gatsby (Jim Fletcher), Daisy (Annie McNamara) and Tom (Pete Simpson), Jordan (April Matthis), George (Frank Boyd) and Myrtle (Laurena Allan) – Fitzgerald’s language is vivid, easy to grasp and imbued with life.

Let me explain: the world of the play is a humdrum office some time in the late 1980s, judging by the computers and remnant typewriters. One office worker (Shepherd) fills the tedious hours reading The Great Gatsby aloud. Others go about the desultory business of the modern administrative workplace until, unobtrusively at first, they assume the personages of Fitzgerald’s East and West Egg on Long Island and hurtle down to the book’s scandal and its tragedy.

Three men in office attire lean against a desk.
In the office: Scott Shepherd as Nick Carraway, Pete Simpson as Tom Buchanan and Jim Fletcher as Jay Gatsby. Photo Toni Wilkinson.

Once the characters are established and the action mounts in the first “section”, it’s an exhilarating ride, with the atmospherics created by Fitzgerald – and amplified and enriched by director John Collins – anticipating much of the best of American literature, cinema and theatre.

When it moves to the Gatsby mansion parties and Jay and Daisy’s reunion, the production becomes a comedy of New York manners worthy of Damon Runyon and Dorothy Parker. As the screws tighten in the Plaza Suite scene – where Gatsby and Tom Buchanan battle for possession of Daisy – there’s a Tennessee Williams shift in mood. And later, when Myrtle Wilson goes under the wheels of Gatsby’s automobile and their battle turns fatal, Gatz reads like James M. Cain.

Finally, we are left with Nick looking out over Long Island Sound at the dark water and the green light, and the voice – its admonition and its premonition – belongs to Fitzgerald alone.

Shepherd is astounding as Nick Carraway. Apart from the enormous feat of remembering almost an entire book (he pretends to be reading it, but that ain’t so) and holding the stage for six hours, his habitation of the character of Nick is complete. You don’t doubt him for a second.

Nor do you doubt the other characters. Fletcher’s Gatsby is imposing, humorous and threatening (he’d be an extraordinary Kerry Packer); McNamara makes Daisy not an alabaster beauty but a woman a man might ache for; and Simpson’s Tom Buchanan is manspread and dangerous. Even the sound designer, Ben Williams, who steps out from his cleverly camouflaged sound desk to play minor characters, is perfect.

Daisy sits by a window, flooded with light from behind.
Annie McNamara’s Daisy Buchanan is a woman a man might ache for. Photo Toni Wilkinson.

But it is the contemporary parallels – Gatsby/Tom Buchanan as precursors to Trump, the inheritance man and cagey outsider; Gatsby’s bootlegger Wolfsheim and Trump’s Russian oligarchs; the racism and the womanising – that make Gatz such a fascinatingly relevant work.

For Gatsby, it was not enough that Daisy loved him; he needed her to have always loved him. It’s his expectation of, and demand for, complete loyalty and possession that destroy him. Perhaps it will destroy this president, too.

The worst thing about them all – the Gatsbys, the Buchanans, the Trumps – is that, as Fitzgerald says, “they smashed up things and creatures and then retreated back into their money or their vast carelessness, and let other people clean up the mess they had made”.

And the worst mess they have made – the one they are still making now, from Wall Street to the Oval Office, from sea to shining sea – is the retreat from the promise of the American future: the green light that Gatsby believed in but was too greedy to attain. And so “we beat on, boats against the current, borne back ceaselessly into the past”.

POSTSCRIPT

Two years ago, we marvelled at The Gabriels – another eight-hour American epic, set, coincidentally, in the year leading up to the election of Donald Trump. It remains the best experience I’ve had at the theatre. I would gladly see both plays – The Gabriels followed by Gatz – back to back over 16 hours.

I thank Perth Festival’s departing director, Wendy Martin, for bringing them both here, and congratulate her on a wonderful four years of theatre programming. I’ll have more to say about it later.

Picture Top:  (left to right) Scott Shepherd as Nick Carraway, Jim Fletcher as Jay Gatsby, April Matthis as Jordan Baker, Annie McNamara as Daisy Buchanan and  Pete Simpson as Tom Buchanan. Photo: Toni Wilkinson.

 

 

 

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Literature, News, Poetry, Reviews

Myanmar’s poetic narrative

Perth Festival Writers Week review: Spotlight on Burma ⋅
The Centre for Stories, February 20 ⋅
Review by Elizabeth Lewis ⋅

Every seat is full. The open-air courtyard of The Centre for Stories is a welcome venue on a muggy summer evening in Perth. Samosas and banana semolina pudding delight and intrigue people on their way in.

This sold-out Perth Festival Writers Week event is co-hosted by PEN Perth, the local chapter of PEN International. What began as a dinner club in the 1920s to promote friendship among writers regardless of race, gender or politics has evolved into a worldwide organisation that defends freedom of expression, campaigns for writers in prison and seeks to raise awareness of minority voices.

The collaboration with Centre for Stories is reflective of the diversity of narratives in William Yeoman’s carefully curated program, which culminates this weekend with the Writer’s Weekend. It is of particular interest to me because of my Burmese heritage, and has attracted overwhelming interest from the general public.

Every seat is full, except for two of the five bar stools on the stage; they are for writers who won’t be appearing tonight. Propped on the empty stools are placards featuring the faces and stories of Wa Lone and Kyaw Soe Oo, Burmese journalists imprisoned earlier this year for allegedly breaching the country’s Official Secrets Act. The two writers were reporting on the massacre of Rohingya Muslims in Burma. Both have been served with a seven-year jail term. The empty seats are a powerful introduction.

The three speakers present are Burmese intellectual Chris Lin and local authors Michelle Johnston and Holden Sheppard. Lin, humble and informative, gives us a nuanced overview of his experiences growing up in Burma in the late eighties/early nineties, acknowledging that he speaks as an expatriate of a conflicted country. We hear about the problematic naming of the country, choosing Burma or Myanmar, “both refer to an ethnic majority at the cost of silencing others” and a brief history of a country “opening itself up to the wider world, tourists, multinational food chains nestled incongruously alongside traditional tea houses.”

Lin doesn’t hold back on naming the recent atrocities committed against the Rohingya Muslims in which both the military and civilians are complicit: “the authorities control the narrative and in doing so control public opinion, there is persecution from both sides.” We hear about the mass exodus of one million Rohingya refugees into neighbouring Bangladesh, as well as the mixed attitudes towards State Counsellor Aung San Suu Kyi’s response to the ethnic violence.

This potted history adds weight to the second part of the evening where Johnston and Sheppard read translations of contemporary Burmese poetry by Tin Moe, Thitsar Ni, Ko Ko Thett and Maung Yu Py. At first, this seems a strange choice. Why not have Burmese people reading Burmese poems? Why not have poets?

Happily (despite the odd mispronunciation) it is clear both readers have taken the time to prepare and show a sincere desire to honour the poets and their work. Johnston (author of Dustfall, UWAP, 2018) performs with grace and bold clarity and Sheppard (winner of the 2018 TAG Hungerford Award) with a humility and emotional connectedness.

The poems range in gravity. Ko Ko Thett’s ironic and humorous ode to MSG in monosodium glutamate is a crowd favourite:

‘it’s umami
the savory delight of monosodium glutamate
the buddha’s poop that has colonized our cuisines since 1908…

…the enhancer of life’s flavours
the condiment to contemporary conditions…

…if you are a 1-kilogram rat
15 grams of the sweet dust is your lethal oral dose
it works 50 percent of the time.’

Tin Moe’s The Years We Didn’t See the Dawn is realistic and heart-rending:

‘…Half unknowing
My days are running out
My paunch thickens and my neck folds sag
As I grow older.
A time of getting nowhere…

The way we live now,
Submitting reports
Loaded with lies…

At this time,
We are not poetry,
We are not human,
This is not life,
This is just so much wastepaper.’

The murmurs and applause of the audience shows that they too have connected with Johnston, Sheppard and with the Burmese poets.

As when literature meets politics, the Q&A session with Lin and PEN Chair Robert Wood was fraught with strong opinions and high emotions regarding the political and religious issues plaguing Burma. After a discussion that almost ran away from the hosts, people left the event moved, educated and with a samosa for the road.

Writers Week continues until February 24. 

Pictured top: L – R: PEN Perth Chair Robert Wood, Michelle Johnston, Holden Sheppard and Chris Lin shine the spotlight on Burma. Photo Elizabeth Lewis

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A Snake's Tail
Calendar, Children, Creative, Fringe World, Interactive Experience

Children’s Event: A Snake’s Tale

29 Jan – 3 Feb, 9 & 10 Feb @ The Shambles, The
Woodside Pleasure Garden ·
17 Feb @ Stevenson Theatre, Midland ·
Presented by Roaming Reptile Education ·

Meet real live snakes and lizards in this interactive show for children aged 3+. Find out what reptiles eat, where they live, and even what they feel like! You’ll finally be able to say you’ve seen a snake’s tale…
“It’s safe to say Cass is some kind of magician.” Weekend Notes, 2018.

Parts of ‘A Snake’s Tale’ were presented at Fringe World last year as the award nominated ‘Wriggly Reptiles’. You can also book Roaming Reptile Education for your own private party or event.

“Amazing reptile show for all ages- especially the young at heart!”
★★★★★ Claudia’s Facebook Wriggly Reptiles Review, 2018.

“Cass is the best snake lady!” ★★★★★ Elijah, 8, at his birthday party 2018.

Award nominated for Fringe World Best Children’s Event 2018.

Auslan interpreted show 3rd February. Interpreter: Christy Filipich

More info:
https://www.fringeworld.com.au/whats_on/a-snake-s-tale-fw2019

Pictured: A Snake’s Tail: credit: Mathios Imaging

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Calendar, Children, Creative, January 19, Visual arts, Workshops

Children: Workshops: Get arty and crafty

14 – 25 January @ Tresillian Arts Centre, Nedlands ·
Presented by Tresillian Arts Centre ·

If your kids are looking for something to do this January, places are still available for fun  Whether it’s origami, sculpture, mosaics, succulents, printmaking, fine art,
embroidery, sewing or learning more about artists, talented tutors are on hand
to deliver classes for ages 5  to 17.

The Tresillian Arts Centre is at 21 Tyrell Street, Nedlands. To book, call 9389 1977.

More info
W: www.tinyurl.com/tresillianjanuary
E:  tresillian@nedlands.wa.gov.au

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Pirates
Calendar, Children, Fringe World, Interactive Experience

Children’s Interactive Adventure: Pirates!!

19 – 27 January @ 3 Playgrounds: Freo Esplanade ·
Heathcote in Applecross, Playscape Yagan Square ·
Presented by Wind Wanderer ·

Pirate Captains Boots and Redbeard return to Fringe World 2019 and they need a crew! Join the lovable pirate duo for another fun-filled quest for treasure.

Pirates!! is a choose-your-own adventure story that takes a group of children on an imaginary journey in search of treasure. The show has run successfully at Fringe World for the past three years and in 2019 will be running for a full week during the School Holidays from Saturday 19 to Sunday 27 January. The adventures will take place at Fremantle Esplanade, Heathcoat Pirate Ship Playground and Yagan Square.

The show begins with Captains Boots and Redbeard calling for fearless souls to join them aboard their imaginary pirate ship. These two fearsome yet friendly pirates soon have a large group of willing participants eager to tie on their bandannas and sail the high seas of their imagination. Boots and Red Beard seamlessly switch between narration and reacting to the children’s imaginative input, leading the adventure with youthful exuberance while also maintaining a careful watch ensuring the crew don’t run too far ahead or lag too far behind in their glee to fight imaginary foes.

Not everything is imaginary though, the children get to find authentic glass bottles containing beautifully produced maps that give accurate latitude and longitude for the location of the pirates booty. Boots and Red Beard fall out over who will find the treasure first and have a real sword fight a la Pirates of the Caribbean before realising that only by working together will they will find the treasure. The show ends with a message about sharing as each participant receives their portion of the chocolate treasure.

Nominated: Best Children’s Event, Fringe World 2017 . Ages 4-12

Pay-as-you-feel

More info
W: www.windwanderer.com.au/pirates
E:  pirates@windwanderer.com.au

 

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Arts Hum
Calendar, Creative, December 18, Exhibitions, November 18, Visual arts

Exhibitions: ArtsHum 2018

29 Nov – 6 Dec @ Edith Cowan University
Presented by School of Arts & Humanities ·

ECU’s annual graduate exhibition, ArtsHum 2018, will open on Thursday, 29 November at the Mount Lawley campus, showcasing the best of graduating student work from
The School of Arts and Humanities.

ArtsHum 2018 will feature a series of simultaneous displays from across the creative disciplines, celebrating the talent and vision of students who are on the cusp of entering their respective industries.

The exhibition not only allows for students to liaise with professionals in their industry, but also to celebrate the culmination of years of hard work with family, friends, arts and humanities professionals, and wider community.

Highlights include a live fashion show in The Edith Spiegeltent, visual art and photography in Spectrum Project Space, live and interactive broadcasts from the new Broadcasting Facilities, and the Alumni Walk of Fame, featuring SAH’s successful graduates from years past.

Via the various galleries, display spaces and walkways centred around the art studios at the heart of ECU’s Mount Lawley campus, attendees to the free event will experience an array of visual art, fashion, design, photography, film, animation, games, writing, advertising, broadcasting, and journalism.

Henry Boston, former Executive Director of the Chamber of Arts and Culture, WA, will officially open the exhibition alongside Professor Clive Barstow, Dean of Arts and Humanities, ECU. “These amazing graduates will make a major contribution  to improving the qualityof life for everyone. As we move into a more automated
and data driven future,creative graduates will offer a life balance that will  redefine what it means to be human”, says Professor Barstow.

The ArtsHum 2018 opening is a licenced event, with refreshments provided, commencing at 6pm.

After opening night, the ArtsHum exhibition will be open to the public from Friday, 30 November to Thursday, 6 December between 9 am and 4 pm, excluding the weekend.

Fashion’s Graduate Show, TACK, will open on Friday, 14 December and is a ticketed event at $20 via Sticky Tickets.

More info
W: http://www.ecu.edu.au/artshum-exhibition
E:  p.monger@ecu.edu.au

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