Revisiting Industrial Relations

In 1999 I convened Industrial Relations, the annual ADSA Conference hosted by QUT in Brisbane. This event was promoted as ‘a conference exploring the links between theatre scholarship and professional theatre practice’. As well as academics, there was to be substantial representation by ‘industry professionals’, although interest from the latter category turned out to be modest. One day of the conference was designated a special ‘Links with Industry’ day, during which the Association launched its now defunct ADSAIL (ADSA Industry Links) initiative. Keynote speaker Wesley Enoch commented on ‘the very strong resistance in “the industry” to acknowledging any role of academics’. ‘What is the practical role of having them?’ he asked the ‘them’ gathered before him. In a letter declining our invitation to speak (he later changed his mind), David Williamson remarked that he always felt ‘uneasy at such conferences’: My view of my work is that I’ve successfully filled theatres for 30 years now, something dramatists are supposed to do. I suppose there’s part of me that hopes this will be celebrated. It often is, but rarely in academic drama departments …. Perhaps in fifty years time someone in academe will realise that I wasn’t just reinforcing the attitudes of the Anglo Celtic ruling class. Several years on it seems timely to revisit Industrial Relations; to look again at the extent to which problems of intercultural communication between industry and academy are being addressed. And what are the implications of this for the ADSA History project, which seeks to investigate ADSA’s contribution to the development of theatre / performance studies in Australasia? What are the ‘external’ impacts of ADSA’s ongoing conference enterprise, and how might these be measured? Reflections from delegates on these and other questions will be warmly encouraged.

Industrial Relations: Proceedings from the 1999 Australasian Drama Studies Association Conference

These papers were presented at “Industrial Relations”, the Australasian Drama Studies Association conference hosted by Theatre & Teaching Studies in the Academy of the Arts, Queensland University of Technology, from the 5th to the 9th of July, 1999. Conference delegates included scholars and artists from across the tertiary education and professional theatre sectors, including, of course, many individuals who work across and between both those worlds. More than a hundred delegates from Australia, New Zealand, England, Belgium and Canada attended the week’s events, which included: • Over sixty conference papers covering a variety of topics from project reports to academy/industry partnerships, theatre history, audience reception studies, health & safety, cultural policy, performance theory, theatre technology and more; • Performances ranging from drama to dance, music and cabaret; • Workshops, panel discussions, forums and interviews; • Keynote addresses from Wesley Enoch, Josette Feral and Keith Johnstone; and • A special “Links with Industry” day, which included the launch of ADSA’s “Links with Industry” brochure, an interview between Mark Radvan and David Williamson, and a panel session featuring Jules Holledge, Zane Trow, Katharine Brisbane, John Kotzas, Gay McAuley and David Watt.

Little Birung

The field of research was contemporary indigenous theatre practice. The aim of the project was to produce theatre that remained as close and true to its source as possible, in both form and content. Little Birung is the final part of a 6-year mentorship of young indigenous artist, Megan Samardin, conducted by renowned musician and composer, John Rodgers, producer Leah Cotterell and director Sean Mee. The culminating event of the mentorship was to develop to create an original music theatre piece, composed by John Rodgers and Megan Samardin, that featured both Megan’s prodigious talent as a singer and her family’s remarkable story. Creative development consisted of extensive interviews with family members, creative development workshops (supported by both State and Federal Government) and critique and input from leading indigenous creatives such as Wesley Enoch (artistic director, Queensland Theatre Company). The challenge was to keep faith with the family and their story whilst creating a work that would appeal to national/international producers and their audiences. The result is a song cycle of 12 original songs that presents an intensely personal exploration of 6 generations of Megan’s family down the maternal line, as told through Megan’s sometimes uneasy relationship with her great grandmother, Flora. Uniquely, each of the 12 songs presents the personal response of each of the women as they confronted the often-brutal consequences of institutionalised racism and government-imposed oppression. The work was produced in Cairns in 2011 as part of the Cairns Festival to substantial critical acclaim and was an official event of Cairns Indigenous Arts Fair. A revised version was successfully presented at the Judith Wright Centre, Brisbane in November 2011. As a result of the Brisbane season, Little Birung has been invited to make a presentation at the 2012 APAM (Australian Performing Arts Market) in Adelaide. Importantly, the family and the indigenous community have embraced the work and have continued their fervent support. It has strengthened them as a family and as a part of the indigenous people of Australia.

Humour and charm in a story of race, headwear and healing

“There are always stories in the wearing” of the iconic beanie just as there are head and heart-warming stories in the making of Alana Valentine’s beautifully crafted Head Full of Love. Nessa and Tilly’s lives entangle at the annual Alice Springs Beanie Festival. The tourist gazes, the craftswoman crochets. Both women have broken pieces of their past that relationship can heal. Collete Mann and Roxanne McDonald capture the rhythm and nuance of difficult relationships perfectly. The humour, pathos and unsentimental depiction of black/white relations in Wesley Enoch’s production promise more than a story, they are a community conversation.

Mapping the Australian archaic: reflections on black medea

Wesley Enoch’s Black Medea is explicit about what is, and what is not, its project: the chorus implores the audience not to read the narrative of its infanticidal heroine as one that demonises black women. Instead, the play affirms that its narrative can be understood differently and in a way that has a wider social significance. Taking my cue from the claim that the story is somehow ‘about everyone,’ I would like to begin unravelling the play’s relevance to contemporary contentions of Australian and indeed ‘Unaustralian’ subjectivity, particularly in relation to the discourses that seek to construct ‘Australian’ identity through an appeal to antiquity and what I describe as ‘the archaic.’ It seems to me that Black Medea presents an opportunity for thinking about the ways in which the discourses of aboriginal and classical antiquity operate to inform contemporary, contesting definitions of Australian identity. Regardless of whether these discourses of antiquity are claimed as ‘Australian’ or abjected as Other or ‘Unaustralian’ – and they have been used in both ways – they remain, I argue, formative to current conceptions of Australian identity and are positioned in the economy of discourses that comprise that arena. As will be seen, the mixed reception or ambivalence with which these complementary discourses of antiquity are treated in Australian culture gives Black Medea the potential to be situated among them in subversive and questioning ways, and in ways that may highlight the reasons for their ambivalent status.

Power plays : Australian theatre and the public agenda

Power Plays capitalises on this moment of renewed and heightened interest by investigating the why and the how of eight contemporary Australian playwrights: Andrew Bovell, Patricia Cornelius, Reg Cribb, Ben Ellis, Wesley Enoch, Hannie Rayson, Stephen Sewell and Katherine Thomson. These writers are passionate about the theatre as a forum for public discussion and they interrogate current issues in their work. Their plays reflect the passing show of cultural, political and economic life in Australia, telling audiences something critical about what is going on: this is the state of play, this is what we are.

The author has conducted extensive interviews with these writers and offers an extended analysis of some of their recent plays.

The modern Medea : Euripides, anti-imperialism and infanticide

Euripides' Medea has been reinvented several times in the twentieth century. This paper uncovers the impetus that informs the lineage of Medeas that are overt in their politicisation of the problems of colonialism and/or institutionalised gender dissymmetry: the Medeas of Pier Paolo Pasolini, Heiner Mller, Brendan Kennelly, Liz Lochhead, Christa Wolf, Diana Wakoski, Tony Harrison - and more recently Wesley Enoch. What, however, lends the Euripidean narrative to such politicisations? To answer this question, the paper looks back to Euripides' play, offering a reappraisal of its representation of infanticide. The paper argues that while this motif is routinely dismissed in the scholarship as a demonising representation of the cultural and sexual Other, the infanticide motif is also the key to understanding Medea's radicality and politicisation of rights-bearing subjectivity in its ancient and modern incarnations.

Infanticide and anti-imperialism in Pasolini's Medea

Euripides’ Medea has been reinvented several times in the twentieth century. While some modern Medeas reiterate conservative tropes of the monstrous feminine or the evil of the cultural Other, the infanticidal figure of Medea is also open to more politically progressive usages. Indeed, several modern versions of Medea are overt in their politicisation of the problems of colonialism and/or institutionalised gender dissymmetry: the Medeas of Pier Paolo Pasolini, Heiner Müller, Christa Wolf, and more recently the indigenous Australian version by Wesley Enoch, for example, enact resistance to the interpretative closures that construct Medea as a caricature of the evil Other. But what lends the Euripidean narrative to such politicisations? And what role does the infanticide have in modern politicisations of the narrative?

To answer these questions, the paper examines Pier Paolo Pasolini’s 1969 film Medea from his Trilogy of Life series. Focussing on Pasolini’s representation of Medea’s signature act, maternal infanticide, the paper outlines the complex ways in which this motif is integral to the film’s contestation of imperialist ideologies, values and practices, and its affiliations with Marxist and feminist criticism. Drawing upon theories of subjectivity and postcolonial discourse, the paper argues that the infanticide motif is politically enabling precisely because it exalts the politics of the ways in which subjectivity is defined. That is, the apparent blessing of the sun god over Medea’s murderous act speaks to the ways in which subjectivity is formed by the symbolic order: a point recalling Medea’s earlier articulation that society systematically demonises and oppresses foreigners and women. The films representation of infanticide, then, can be read in the light of the narratives politicisation of the discourses that define subjectivity and the hegemonic practices that subjugate and dominate the subaltern. So, while Medea’s infanticide is sometimes dismissed as a demonising representation of the cultural and sexual Other, it can also be read as the key to understanding Medea’s political radicality, drawing attention to the discourses of rights-bearing subjectivity in both its ancient and modern incarnations.

Pasolini’s project of anti-colonialism, however, is fraught with certain paradoxes. To politicise the predicament of imperial subjugation, Pasolini’s Medea places the burden of authenticity on the cultural and sexual Other, on Medea - and on Medea’s culture of origin, Colchis. In this way, Pasolini’s Medea mobilises the problematic discourses of ‘First World’ modernity that define the ‘Third World’ as the carrier of the symbolic burden of authenticity as well as of ‘the sacred.’ Pasolini’s Medea thus offers an overly schematic and abstract representation of the relationship between coloniser and colonised. However, Pasolini’s Medea is not simply or finally a reification of these discourses; rather it strategically mobilises them – just as it strategically mobilises the monstrous act of infanticide – to make its political point.

Your genre is black : indigenous performing arts and policy

In February 2008, Prime Minister Kevin Rudd apologised to the Stolen Generations on behalf of the Australian people. Now what? In this Platform Paper, mid-career Indigenous performing artists think about their post-apology future. Indigenous theatre blossomed in the 1990s when it was grasped as a means to expose social issues and advance the goals of Reconciliation. Now that generation of artists questions these motives. For some, history and community are central; others are impatient with 'your genre is black' and demand the professional respect they have earned. "Indigenous artists", says director Wesley Enoch, "have been asked for decades to work at their slowest, to bring everyone along with them. It's the equivalent of asking Cathy Freeman to run slowly, so that everyone can keep up with her." Glow and Johanson provide a forum for practitioners like Rachel Maza-Long, David Milroy, Stephen Page and Rhoda Roberts. Together they call for an end to second-best; and for measures that respond with post-apology confidence to the vision and inspiration that, in the opinion of the Australia Council, "remain at the heart of Australia's culture" .

Painted portrait of Hirsch (Zwiven Israel) Oppenheimer with his wife Johanna (Chana bat Schmuel) nee Enoch. Portraits Couples

Digital Image

Painted portrait of Hirsch (Zwiven Israel) Oppenheimer with his wife Johanna (Chana bat Schmuel) nee Enoch. Portraits Couples

Digital Image

Restoration of a brown trout (Salmo trutta L.) population to Loch Enoch, an acified Loch in Galloway, South-West Scotland

The authors present the findings of a restoration project in Loch Enoch in Scotland. There are historical references that brown trout was present in Loch Enoch up to the 1920s but it is believed the acidity of loch triggered the disappearance of Salmo trutta. The recent observed reduction in the acidity of L. Enoch to a level close to that found in nearby lochs with trout populations, suggested that trout might now survive in L. Enoch. For a population to survive, all stages in the life-cycle of a species must be able to develop. Accordingly, tests were undertaken, first with eggs and fry. The availability of food was also studied. In October 1994, 3,000 yearling trout of L. Grannoch origin which had been reared in a local hatchery were distributed throughout the loch. The fish population was studied from 1995-98. The authors conclude that survival of the trout population is possible if the acidity of the loch water remains low.

?The Lord did give me a particular honour to make [me] a peacemaker? : Howel Harris, John Wesley and Methodist infighting, 1739-1750

Jones, David, '?The Lord did give me a particular honour to make [me] a peacemaker?: Howel Harris, John Wesley and Methodist infighting, 1739-1750', Bulletin of the John Rylands, University Library of Manchester (2003) 85(2-3) pp.73-88 RAE2008

Letter: To Ebenezer Blackwell from John Wesley, July 3, 1751

Digitized from a letter in the Drew University Methodist Collection. 1 item (4 p.); 19.5 x 32 cm.