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.

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.

Letter: To Molly Wesley from John Wesley, March 30, 1751

Digitized from a letter in the Drew University Methodist Collection. 1 Item (4 p.); 20.5 x 33 cm.

Letter: To "My Dear Charles" from John Wesley, January 3, 1741

Digitized from a letter in the Drew University Methodist Collection. 1 Item (2 p.); 17 x 20 cm

John Wesley, the man and his mission

http://www.archive.org/details/johnwesleytheman00pikeuoft