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© 2014 Community Arts Network Western Australia Ltd ACN: 106 364 407 Catalyst Bulletin 2013/14

COMMUNITY ARTS NETWORK WESTERN AUSTRALIA

ISSN: 1835-6257 Disclaimer: The opinions expressed in this publication do not necessarily reflect those of the CAN WA staff, board of management or members. CAN WA reserves editorial rights on all copy for inclusion in CAN WA publications, unless otherwise agreed prior to publication. All care has been taken to advise project coordinators of protocols and responsibilities with regard to representing communities in articles and photographs. These responsibilities lie with project coordinators who have supplied CAN WA with photographs and information. This publication is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced without prior written permission from the publisher. Requests and enquiries concerning production and rights should be addressed to CAN WA, PO Box 7514, Cloisters Square WA 6850, or [email protected]. EcoStar is an environmentally responsible paper made carbon neutral. It is manufactured from 100% post-consumer recycled paper in an environment free from process chlorine under the ISO 14001 environmental management system. CAN WA is committed to using environmentally sustainable products.

Perth office

Cover image: Body language and typical expressions, Performance as a Symbol of Heritage and Identity by Colombian Cultural Connection (photo by Fabyana Lorenzon)

King Street Arts Centre Ground Floor 357–365 Murray Street Perth WA 6000 PO Box 7514 Cloisters Square Perth WA 6850 T (08) 9226 2422 F (08) 9226 2230 E [email protected] W www.canwa.com.au

Government of Western Australia Mental Health Commission

CAN WA manages this fund on behalf of the Government of Western Australia through the Department of Culture and the Arts and is supported by the Mental Health Commission.

DUNCAN ORD, Director General, Department of Culture and the Arts

Welcome to the Catalyst Bulletin 2013 / 2014, celebrating the achievements of the artists and communities supported by CAN WA through the Catalyst Community Arts Fund.

The Catalyst Community Arts Fund supports Western Australian community arts projects that give people the opportunity to participate, learn and express their local culture and identity. The fund also supports professional development for individual community artists and cultural development workers. Community Arts Network Western Australia Ltd (CAN WA) manages this fund on behalf of the State of Western Australia through the Department of Culture and the Arts and is supported by the Mental Health Commission. For information on how to apply, please see page 29 of this bulletin or visit www.canwa.com.au. Detail of an artwork as part of the Expressions of Indigenous Identity project at St Catherine College (photo by James McCarthy)

Of the eight projects featured in this edition, the majority are regional; several specifically relate to Indigenous arts, and all appeal to broad audiences. All eight show the importance of community arts activities and how they help to create healthy, vibrant communities.

The benefits of community arts projects range from skills development and social cohesion to diversionary benefits that extend the value of the community arts sector. The arts projects are community led, innovative, and flexible, and they get people and groups involved as participants, audiences and creators of art that has meaning and relevance to their lives.

Since 1997, CAN WA has sustained significant community outcomes and connections throughout Western Australia, and the Department of Culture and the Arts is a proud supporter of the organisation’s work.

Collaborative activities between professional artists or art organisations and non-­professional participants are as much about cultural development and vibrancy as they are about the arts.

The Department of Culture and the Arts is committed to ensuring that all Western Australians have access to a range of cultural experiences, and one method of achieving

I hope that these stories of successful projects encourage new and returning applicants to consider how their community arts projects can be supported by the Catalyst Community Arts Fund.

03 A WORD FROM



THE CATALYST CHAIR Susie Waller

04 CATALYST AT

A GLANCE

06 HUNTING FOR FOXES



Rachel McKenzie

10 MAKURU ARTS FESTIVAL



Ken Allen

this is through strong partnerships with organisations like CAN WA.

12 PERFORMANCE AS A

24 HALLS CREEK YOHFEST

16 TELLING TALES:





SYMBOL OF HERITAGE AND IDENTITY Martha Ramirez Ochoa STORIES IN CLAY Wendy Hill

18 SAME, SAME … DIFFERENT?

Raina Savage

22 BAYULU RIVER STORIES



Ushan Boyd



DANCE GROUP Alana Pritchard

26 RADIO PLAYS Jo Smith

28 OVERVIEW AND ELIGIBILITY 29 THINKING ABOUT APPLYING? 30 DREAM, PLAN, DO 33 FURTHER FUNDING

OPPORTUNITIES

1

SUSIE WALLER

Catalyst Chair

The Catalyst Community Arts Fund helps to provide Western Australians with opportunities to participate in diverse and innovative arts and cultural activities throughout the state. As you will read in this bulletin, these activities include theatre, circus and dance; skills development for young people in towns and Aboriginal communities across the Kimberley; photographic workshops and exhibitions for the gay, lesbian, bisexual, transgender and intersex community in the Mid West; radio play writing and performance mentorship in Albany; and cultural storytelling and tactile clay workshops for Armadale locals. The Catalyst Community Arts Fund supports the development of creative skills and the expression of local identity and culture in the Western Australian community. In fact, the beauty of the fund is that it is not limited to any one particular creative form or cultural group, only to the imagination and innovation of Western Australian communities! Through the projects it supports, the Catalyst Community Arts Fund brings together people of different ages, genders, interests, abilities, cultural backgrounds and locations. In being socially inclusive and respecting diversity, these projects demonstrate the power of community arts to improve feelings of personal wellbeing and belonging, help people make new friendships and build community resilience. 2

Detail of an artwork in progress as part of the Expressions of Indigenous Identity project at St Catherine College (photo by James McCarthy)

The creative development, cultural diversity and other benefits achieved through the Catalyst Community Arts Fund are made possible by connecting Western Australian communities with professional arts workers. In addition to providing the necessary artistic and cultural development expertise for the community art projects, these arts workers give so much of themselves through their unwavering passion and commitment. The fund provides support to community arts through research and development, and in doing so it ensures ongoing benefits from and innovation in community arts in Western Australia. It is my privilege to be involved as a CAN WA director and as the chair of the Catalyst Community Arts Fund. I thoroughly enjoy reading the many community art proposals. It is then extremely rewarding to see the funded projects realised and to learn of their successes (and occasional challenges). I trust that you will also enjoy reading about the projects featured in this bulletin. 3

Pundara performance group dancing at the Ningaloo Whaleshark Festival with the fire sculptures, as part of the Gascoyne Fire Tableaux project by Gascoyne in May (photo by Anton Blume)

From the middle of 2013 to the end of 2014, the Catalyst Community Arts Fund supported 41 communities across Western Australia. This period included three rounds of funding. In each round, regional applications took the lead, in a trend that has seen an increasing proportion of regional communities accessing the Catalyst Community Arts Fund in recent years.

Young man taking part in the Expressions of Indigenous Identity project at St Catherine College (photo by James McCarthy)

Workshop facilitator and artist Sandra Hill teaching young people painting techniques as part of the Expressions of Indigenous Identity project at St Catherine College (photo by James McCarthy)

Catalyst Completed Projects, 1 January 2013 to November 2014

Above: Young people taking part in the Expressions of Indigenous Identity project at St Catherine College (photo by James McCarthy) Left: Artwork in progress as part of Expressions of Indigenous Identity project at St Catherine College (photo by James McCarthy)

4,571

PEOPLE CREATED ART

FUNDING ROUND

REGIONAL APPLICATIONS

TOTAL APPLICATIONS RECEIVED

METROPOLITAN APPLICATIONS

September 2013

26

17

9

March 2014

45

24

September 2014

24

14

TOTAL REQUESTED APPLICATIONS FUNDED

AMOUNT AWARDED

$282,013

12

$120,714

21

$541,151

17

$137,706

10

$270,271

12

$125,155



4

CATALYST FUNDS ACQUITTED

42,561 PEOPLE ENJOYED COMMUNITY ARTS

182 ARTISTS EMPLOYED

For more information about the Catalyst Community Arts Fund and how to apply, go to page 29 of this Bulletin.

$476,919

1,122

COMMUNITY ARTS WORKSHOPS

121

COMMUNITY ARTS SHOWCASE EVENTS

$762,047

ADDITIONAL INCOME CONTRIBUTED

5

The project provided a platform for local women to explore a fantasy side of themselves, an alter ego or an element of themselves that lay dormant, never given the opportunity to be explored. We invited locals to create another version of themselves, away from mundane responsibilities and removed from the sometimes harsh reality of living off the land or in the bush.

Bush Artist featuring Wendy Jackamarra (photo by Carlos Fernandes)

RACHEL MCKENZIE Project Coordinator

Hunting for Foxes, a photography project that set out to challenge the stereotypes of country women, began as a whisper of an idea, a desire for something creative to push our boundaries and bring the local women together. What developed — and the journey it took us on, as individuals and collectively — was beyond any expectations or hopes we could have possibly held.

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Riding on the back of the success of a recent publication about the town and its community spirit, a group of local women wanted more of the same. Looking to expand themselves creatively, local women developed the idea over cake and coffee. We wanted to challenge the long-­held stereotypes of women living on the land in regional Australia. In particular, we wanted to challenge the notion that regional women are unsophisticated, uncultured and not particularly glamorous. The women all felt that although their lifestyles rarely allowed them the opportunity to show their creative side, creativity is still a part of who they are, and they relished the opportunity to express it.

The project started with a series of creative workshops to help the women develop their concepts and start building a storyboard of how their shoot would look. From there, participants partnered up and set about finding the necessary props and costumes.

Bush Bather featuring Belynda Mills (photo by Carlos Fernandes)

Participants worked with a professional photographer, a photographic stylist, a hair stylist and a make-­up artist on a series of on-­location photo-­shoots in and around Mullewa. The skills learned at earlier photography workshops encouraged the women to take their own photographs at the photo-­shoots as well. After the final shoot, we held a celebration dinner in a shearing shed, decorated in typical country style. At the dinner, we screened behind-­the-­ scene images and everyone’s second-­ best image. The final photographs were held back, kept in reserve for the exhibition, to maintain a little mystery. The images were received with gasps, laughter, nervous giggles and amazement as people struggled to recognise friends they had known their whole lives, now transformed into foxy ladies. People who rarely, if ever, had the opportunity to mix sat together sharing stories of nervously knocking knees, the joy of being fussed over, the art of holding yourself

The Bringer of Smiles and Rain featuring Lilly Bone (photo by Carlos Fernandes)

MULLEWA ARTS DEVELOPMENT GROUP CATEGORY B CATALYST FUNDING AMOUNT TOTAL PROJECT COST

REGIONAL $15,000 $100,568

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From the first sugar-­and-­c affeine-­ fuelled conversation to the exhausted excitement of the final exhibition, this fox hunt was a 22-­month journey. This project delivered many unexpected benefits and magical moments, which meant so much more to people than merely getting dressed up for a camera.

just so to avoid exposing a double chin and the challenges of applying false eyelashes. They spoke of how their personal boundaries had been challenged, and they compared who had moved furthest outside of her comfort zone. The Hunting for Foxes exhibition opened to a rowdy and packed house at the Geraldton Regional Art Gallery. Many participants found themselves in the gallery for the first time. More impressively, they found they were the star attraction. I wish I had recorded the comments that night, the proud showing off of images, the amazed recognition of friends and family, the remarks about how professional and varied the images were, and the joy that filled the gallery. 8

Left: Baby Gaga featuring Laura Byron (photo by Carlos Fernandes) Above: Of a Different Era featuring Casey Patten (photo by Carlos Fernandes)

Kathryn Park hates having her photo taken. Her skin has been plagued with cancers since she was young, and she has never been one for make-­up and glam. Initially, she was very hesitant about taking part in the project. “I love all of my shots and, without a doubt, this is the best photo I’ve ever had taken of me. I love it! All my nerves disappeared once we were on location. There is nothing like lying on the lawn, with a man standing over you with a camera, surrounded by people poking at your face in public to make the laughter come.”

Tarleah Thomas’s shoot was a classic example of the country “can-­do” attitude and remains one of the most talked about. “On the day of the shoot, my stress levels were through the roof, but I had encouragement from fellow participants and good friends. My nerves on the shoot quickly subsided with a little wine, poured into and concealed in my teacup. Nerves were replaced with laughter and mocking when a member of the group announced that we were to watch out for emu patties. A few minutes later, she managed to sit right in a fresh one! As I threw mud and splashed water around, our photographer, Nat, requested a pane of glass or something similar to protect the camera. My

husband said, ‘Righto, I’ll go find something.’ And he took off, returning with a window, frame and all, from the back veranda of our house!” A closed Facebook page was used to put out the call for necessary props and locations for each shoot. A request for a size eight Parisian-­looking dress would see six of them turn up the next day. Through everyone’s efforts – sharing 50’s retro kitchen equipment, hauling a whole office setting to the back of beyond and the like – new friendships and a real sense of community developed. The project’s objectives of challenging stereotypes of regional women were achieved.

“I love all of my shots and, without a doubt, this is the best photo I’ve ever had taken of me. I love it!

Lorraine Tierney is a tall lady. She always has been tall, and the only thing she wanted from this project was to feel and look small. After hours of debate and the combined efforts of neighbours and friends to build a special chair, we made her fantasy a reality, even if only for the shortest time. As she sat high in her giant chair, her long legs, for the first time since childhood, did not reach the ground, and a childlike grin spread over Lorraine’s face. We had done it!

Kathryn Park

9 Flower Rebirth featuring Kathryn Park (photo by Carlos Fernandes)

KEN ALLEN Executive Officer, All We Need Is Right Here

Makuru is the Noongar name for winter. In 2014, the inaugural Makuru Arts Festival was a significant reconciliation project in the Shire of Kalamunda. The Makuru Arts Festival, presented by LiveLighter, was the first NAIDOC Week event to take place in the Shire of Kalamunda, and it ran from 1 July to 13 July. The organisation behind the event was the local community group known as All We Need Is Right Here. Major sponsors included CAN WA, the Shire of Kalamunda, Healthway, Lotterywest (through their sponsorship of All We Need Is Right Here) and the Department of the Prime Minister and Cabinet.

organisation Foothills Information & Referral Service. Their premises were the home base for the Makuru Arts Festival’s steering group and were where the festival was born, in a brainstorming session between Ken Wyatt (Federal MP for Hasluck), Anne Whitby (Foothills Information & Referral Service) and Ken Allen (executive officer of All We Need Is Right Here). The workshops and cultural presentations formed the major part of the festival’s CAN WA-­ funded activities. Noongar cultural presentations and sculpture workshops were delivered by Leonard Thorn, who gave cultural tours along the Bibbulmun Track. Leonard demonstrated traditional Noongar construction techniques, such as string making and balga resin welding, to classes from Kalamunda Senior High School, Lesmurdie Senior High School and Darling Range Sports College. The students were also encouraged to join the community workshops held at the Kalamunda Community Learning Centre in Jorgensen Park near the northern end of the Bibbulmun Track. Leonard was supported in these

The festival was made up of a number of workshops and events that culminated in a concert at the Kalamunda Farmers Market.

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The festival was distinguished by the collaborative efforts of many participants in different artistic fields. Makuru Arts Festival’s artistic director Della Rae Morrison brought Indigenous music performances, art and culture together. Bush tucker featured at the festival launch, which was hosted by local Forrestfield Homes in the Forest sculptures (photo by Michelle White)

workshops by Noongar artist Sharyn Egan, who specialises in basket-­ making and weaving techniques. The sculptures made in the workshops were created entirely from locally sourced bush materials. These eco-­ sculptures were installed in the natural bush along the Bibbulmun Track and were known as the LiveLighter Bibbulmun Track Sculpture Trail. Some were short-­lived and ephemeral, but some larger artworks are still standing months after the event. With traditional Noongar knowledge at their heart, the bush sculptures invited participants to create artwork in harmony with the bush setting. The Makuru Arts Festival has inspired many artists. Local sculpture artist Gordon Mitchell plans to become more involved next year and to include the Bibbulmun “sculptures in the bush” project in the special art program for Kalamunda Senior High School’s Gifted and Talented Education students. The sculpture trail has gained momentum and is likely to be an annual inclusion in the Makuru Arts Festival. As part of the festival, an exhibition celebrating Indigenous art was held at the Shire of Kalamunda’s Zig Zag Gallery. Curated by the festival’s creative director, Della Rae Morrison, in collaboration with gallery curator Marilyn Keys, the Makuru Art Exhibition was the most successful exhibition in the gallery’s history. In the lead-­up to the concert, local performers and visiting Noongar artists – including the headline act Phillip Walley-­Stack, Noongar performer and festival artistic director Della Rae Morrison, local choir A Kappella Munda the Kalamunda Youth Swing Band and

Forest artwork (photo by Michelle White)

Michelle White and Cawden Cox posing under the wooden archway (photo by Madison Cox)

local Noongar choir Madjitil Moorna – collaborated musically, and all took part in a big group finale. More than 3000 people attended the festival’s finale concert and many more took part in the festival through school visits, the art exhibition, the Bibbulmun Track tours and the sculpture workshops. Feedback from the festival has been resoundingly positive. Significantly, following the festival’s success, the Shire of Kalamunda could soon further strengthen its relationship with Indigenous Australians. Shire chief executive Rhonda Hardy plans to investigate how the council can take steps to join the national Reconciliation Action Plan. We hope that the 2015 Makuru Arts Festival will continue to unite our community.

DARLING RANGE CONNECT CATEGORY B CATALYST FUNDING AMOUNT TOTAL PROJECT COST

METROPOLITAN $8,060 $61,174

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BASED ON A REPORT BY MARTHA RAMIREZ OCHOA Artist and Project Coordinator

Over several months, across three areas of Perth and through a series of thirty-­three workshops, traditional Colombian dance provided a means for community members to come together, develop their dance skills, and explore and express their cultural identity. The project saw around sixty people participate in Colombian folk—dance workshops, culminating in performances that celebrated Colombian culture and identity. Participants found the project to be an opportunity to share experiences, solve problems, identify the skills they already have, develop new friendships and, of course, improve their dance skills.

The project provided an opportunity to show the positive aspects of a culturally rich country that has been stereotyped by drugs and violence.

12 Bambuco traditional dance, with its delicate and playful movements (photo by Fabyana Lorenzon)

The Colombian pilanderas being performed live in Perth (photo by Fabyana Lorenzon)

Participants included Colombian-­born people and people of Colombian descent born in Australia, as well as people from many other backgrounds. Men, women and children, from 8 to 48 and from all walks of life and musical abilities, were brought together through dance.

COLOMBIAN CULTURAL CONNECTION CATEGORY B

METROPOLITAN

CATALYST FUNDING AMOUNT

$10,119

TOTAL PROJECT COST

$14,003

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Three sets of workshops took place in three easily accessible parts of the city: Perth city, South Perth and Fremantle. Each area had approximately twenty participants and final performances were held at Forrest Centre in Perth city, Bollywood Dance Studio in South Perth and Kulcha Multicultural Arts in Fremantle. The participants had a varied range of experience, and this affected the teaching style of project coordinator and artist, Martha Ramirez Ochoa. Initially, teaching was tightly directed and structured, with Martha setting short-­term tasks, which were challenging but achievable, to keep the pace of the lessons fast and to ensure the participants stayed interested and energetic.

Gaita, a joyful and colourful dance, live at Kulcha, Fremantle (photo by Fabyana Lorenzon)

Participants learned creative dance movements and how to plan a performance. By the end of the project, many participants could analyse certain technical aspects of dance, judging and expressing personal opinions about performances. Some members of the groups learned about music and choreography and other aspects of putting on a show. The workshops also explored artistic expression through songs and musical instruments. Through dance, participants were encouraged to express feelings of aspiration, joy, sorrow, love, tenderness and admiration. With their bodies, gestures and movements, they explored cultural habits and traditions over time. Dancers studied and discussed the history, traditions, rituals, customs and lifestyles of Colombian people.

Most of the dances practised in the workshops explicitly told the stories of historical events that have affected Columbian people. The workshops allowed participants to interpret Colombian history, revive traditions and strengthen cultural identity. Participants were able to expand their cultural and musical knowledge. Dancers dressed in regional costumes. They also learned to identify different rhythms and dances from the different regions of Colombia, from the north coast near the Caribbean, to the Pacific coast in the west and to the inland south. For example, the joyful pilanderas dance represents the grinding of corn and has fast, agile and rhythmic movements. On the other hand, in the Caribbean region of Colombia, the fandango is often danced as part of public celebrations on special days on which the patron saints and harvests are celebrated. Participants were encouraged to discuss subjects and traditions specific to different regions and to retell the stories of their grandparents and parents, leading to group discussions that brought participants closer to their own stories. The dancers performed at the Perth celebrations of the Colombian independence declaration, the first Colombian Cultural Festival and Chinese New Year. These opportunities revitalised connections within the Australian-­C olombian community and strengthened ties with other cultural groups.

Colombian dance workshop (photos by Fabyana Lorenzon)

The main aims of the project were to bring people together through Colombian dance, to include different cultures, to celebrate Colombian culture and to develop participants’ dance skills. In addition, through the dance workshops, participants took part in community events, and developed skills that boosted their personal senses of achievement, and self-­confidence. They also gained an increased appreciation of Colombian culture. Participants shared personal stories, built new social networks and enjoyed dancing with their groups. The project developed strong, socially connected groups that were supportive and inclusive of people from different backgrounds, experiences and abilities. These relationships and networks have continued beyond the life of the project, and at least half of the participants expressed the intention to continue dancing. For participants with a Colombian heritage, the project provided an opportunity to show the positive aspects of a culturally rich country that has been stereotyped by drugs and violence. For them, the project was about carrying aloft their home country’s flag – to show that they hail from a country full of warmth, creativity and talent.

14 Colombian dance workshop (photos by Fabyana Lorenzon)

15

Storyteller Simon James using funny props for the last interactive storytelling session (photo by Hazel James)

Telling Tales: Stories in Clay – participants and facilitators (photo by Hazel James)

WENDY HILL Community Development Officer, City of Armadale

Telling Tales Stories in Clay was a community art program for people in the Armadale area, inclusive of people with a disability and/or people who experienced social isolation.

Participants making their clay pieces as they listen to one of the stories (photo by Hazel James)

The workshops started with a storytelling session with Simon, who selected stories to reflect the ethnic composition of Armadale’s community. The storytelling was then followed by Joanna’s pottery lesson, which enabled participants to bring their stories to life. Thirty-­two stories inspired more than 100 artworks. Telling Tales: Stories in Clay was coordinated by the City of Armadale and ran for eight weeks, from 3 October to 21 November 2013. The program was supported by Southside Care, a home and community care organisation that hosted the workshops at their premises. The community was invited to participate in Telling Tales: Stories in Clay through promotions in the local newspaper, the distribution of flyers and local organisations informing families they worked with. An exhibition of the final artworks was held at Armadale Library from 2 to 16 December 2013 to celebrate Disability Awareness Week. Participants and dignitaries were invited to the launch of the Telling Tales: Stories in Clay exhibition. The launch included a welcome by the City of Armadale’s deputy mayor, an address by the manager of the Disability Services Commission’s Kelmscott office, a story by Simon James and the presentation of participation certificates and thank-­you gifts by the deputy mayor. The launch concluded with a light afternoon tea.

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Working with their hands and socialising is known to improve the wellbeing of people who experience social isolation or have a physical or mental disability. This program’s benefits included stimulating creative thinking skills, by interpreting stories to inform the creation of clay art; boosting fine-­motor skills; and improving social skills, through group interaction and discussion of the stories. Feedback from the Telling Tales: Stories in Clay program indicated that participants had an interest in other craft activities. This feedback inspired the development of

monthly Positive Ageing – Let’s Get Crafty sessions at Armadale Library. Local craft groups, community centres and craft businesses now provide instructors for regular come-­and-­try sessions. Instructors are able to promote their craft, and participants have the opportunity to join craft groups in the local community. Highlights of the Telling Tales: Stories with Clay program included: •

People who experience social isolation, people with a disability and other members of the community worked together on a community arts project.

•

Participants developed creative thinking skills, improved their motor skills and gained self-­confidence through interacting with others.

•

Local cultural stories and notions of identity were explored and shared.

•

A greater acceptance of people with a disability was promoted to the wider community through the art exhibition and the publication of articles in the local newspaper.

•

Interest in ongoing craft activities led to the development of monthly Positive Ageing – Let’s Get Crafty sessions at the Armadale Library from May 2014.

About the Artists Joanna Wakefield is a ceramic artist with a wealth of experience in her field. She has been shortlisted twice for public art projects and is currently the art curator for Sir Charles Gairdner Hospital. Joanna has received sculpture awards in Perth, York, Kununurra and Kalgoorlie–Boulder, and the people’s choice award at Ascot Waters Art in the Park. Simon James is the artistic director of ARENAarts and has tutored at Curtin University in theatre arts. He has also worked as a performing arts technician at Helena College and currently works for Nulsen as a disability support worker, where he received the staff award in 2012. Simon has over 20 years’ experience as a storyteller in ARENAarts’ Theatre for Schools program for Book Week. He has delivered readings as a part of Armadale’s History House Museum’s seniors’ guest speaker program and performed Murder at the Narrogin Inn as a part of heritage month for the City of Armadale and Birtwistle Local Studies Library.

CITY OF ARMADALE CATEGORY B CATALYST FUNDING AMOUNT TOTAL PROJECT COST

METROPOLITAN $4,550 $10,443

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RAINA SAVAGE Project Coordinator and Festival Director, GFEST Arts and Cultural Festival

The photography exhibition was a vehicle for members of the group to say “I am here too” and “I am part of this community”.

The Same, Same … Different? photography project created fabulously quirky and breathtakingly beautiful images of gay, lesbian, bisexual, transgender and intersex (GLBTI) people living in regional Australia. Run by Pride Midwest, the project involved a group of GLBTI people from the Mid West of Western Australia working with a professional photographer to learn camera skills and composition, and then exhibiting the images they produced of themselves, their families and their community.

Raina Savage

What was behind the images was even more important. In a series of workshops, the participants explored mental health issues related to their senses of identity, belonging, community and family, and to their feelings about being members of an often reviled minority in regional Australia. They highlighted the strengths, qualities and experiences that gave them their strength and resilience. The project was exciting – and a bit scary – as it was the first time that GLBTI people in the Mid West had held a public exhibition that not only identified them as part of a sexual minority but also opened up their private worlds to public view. Fortunately, the public response was incredibly positive and was an important step in creating a more visible, more accepted place for GLBTI people in the Mid West.

Charming, encouraging and intuitive, renowned photojournalist Vanessa Hunter, of The Weekend Australian, was a great choice for the photography teacher. She was able to demystify the internal workings of SLR cameras and provide excellent tutelage in photographic techniques. Participants explored various photographic styles – portraiture, still life, abstract, studio and outdoor photography – to develop a range of tools that, in a relatively short period, had members experimenting confidently. Joukje Mulder, a local lesbian mental-­health professional, led group discussions that were sometimes moving, sometimes sad and often hilarious about GLBTI people’s experiences of growing up, coming out or living in small regional communities. Some of these experiences were negative, but the workshops focused on identifying the things, places and people that strengthened their resilience and brought meaning and joy to their lives. Each participant developed a concept that expressed a personal experience and two or three images to encapsulate that concept. Vanessa worked individually with participants to help them set up and shoot their images, which were then printed, professionally mounted and exhibited at the Geraldton Arts and Cultural Development Council’s gallery.

SAME, SAME … DIFFERENT? PHOTOGRAPHY PROJECT CATEGORY B CATALYST FUNDING AMOUNT

18 Raina Savage and her partner Anthea Da Silva on a peaceful and relaxing Sunday morning in bed (photo by Raina Savage)

TOTAL PROJECT COST

METROPOLITAN $8,198 $15,076

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The exhibition was officially opened in October 2013 in conjunction with the launch of the GFEST arts and cultural festival, a fringe arts festival also run by Pride Midwest. The launch and opening was a fabulous event, with Nationals politicians, local councillors and business people rubbing shoulders with drag queens, burlesque dancers and out-­and-­proud GLBTI people. In 2014, the official launch of GFEST and the accompanying art exhibition was one of the most sought-­after tickets in town! Members of the group came from different backgrounds. Some had grown up in Geraldton; others had moved there as adults. The project allowed members of a minority group that is often invisible or marginalised in rural and regional communities to be placed in the cultural foreground and to express their identities as part of their local community. The project allowed the participants to tell their stories, stories that are often untold or unspoken. The photography exhibition was a vehicle for members of the group to say “I am here too” and “I am part of this community”.

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From top: Raina Savage gazing out at the valley (photo by Anthea Da Silva); Portrait of Sandy (photo by Chris Somers)

People from minority groups can often feel lost in the mainstream of small communities, which often present a single cultural identity that can feel excluding for those who do not fit the cultural norm. In such communities, the cost of fitting in and hiding your real self is represented in the high levels of depression, self-­harm, alcohol and drug abuse, and suicide among GLBTI people. Some people had experienced a lot of abuse and isolation growing up in the town, and this project provided the first opportunity for them to speak publicly about what they had experienced and to make a positive statement about who they are and their place in the community.

Many people came to see the exhibition, often spending a lot of time looking at the photographs and reading the captions. The captions were very personal and gave another level of insight into the lives of the artists. People asked questions about the photographs and expressed surprise and delight at some of the images, and sadness or joy at the stories behind them. We are confident that through this project people in Geraldton have broadened their understanding of who makes up their community and become more tolerant and inclusive. With the 2014 GFEST arts festival extended to ten days and nights of events and attracting people of all ages and backgrounds, we think we are making a difference towards creating a more inclusive, accepting community for everyone.

For the participants, the benefits were clear. Many had little experience being artists or photographers, and all were delighted and surprised at the professional quality of the work they were able to create. Three of the women have since formed a photography group that continues to meet regularly. All participants reported enjoying a safe place to discuss issues openly. The experience of being more visible was also seen as overwhelmingly positive. The community response was heartening – a great relief to the participants, who recognised the risk they took in making such a public statement about their lifestyles. Many participants had been nervous about how their work would be received.

21 From top: Workshop facilitator Vanessa Hunter demonstrating how to play with camera focus (photo by Anthea Da Silva); Freedom (photo by Joukje Mulder)

The first two days of workshops gave all the students an opportunity to try each of the five skills on offer. The exception was that the junior classes did not use the tablets. Eventually, it was realised that the very youngest participants could not be included in the intensive workshops due to their attention spans! Instead, they had age-­appropriate workshops with dramaturge Ralf Rauker each morning.

Bayulu students performing live their hip-­hop routine with choreographer Sete Tele (photo by Gwen Knox)

USHAN BOYD Project Manager

Bayulu River Stories was a project requested by the elders of the Bayulu community. They saw a need to use contemporary methods of telling stories to connect with the children of the community. Theatre Kimberley’s Act-­Belong-­Commit outreach program coordinated the project, which aimed to give participants new skills and encourage intergenerational activities.

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For the first five weeks of third term in 2013, theatre staff worked with the students of Bayulu Remote Community School, who invited elders from their community into the classroom to tell stories. After five weeks of focused activities, including puppetry, dance, circus, animation and documentary-­making, the project resulted in a multi-­arts show that

played to about 300 community members. The entire process was filmed by the participants, and a short documentary was made available to the community. Ideally, this footage will air on Indigenous Community Television soon. In the first week, teachers and students welcomed elders from the Gooniyandi and Walmajarri people into the classroom to share traditional stories. The elders, Thomas, Amy, Billy, Don, Nancy and Lorraine, told the children traditional stories about the river and local waterholes. An unforseen bonus was that the education assistants, who are mostly local Aboriginal people, also provided a wealth of knowledge – interpreting, elaborating

and clarifying the stories. They were the intergenerational bridge between the elders and the children, and they helped the process immensely. After the storytelling, the Theatre Kimberley team started to assess the stories to see how they could be arranged into a show. This process required several check-­ins with elders along the way to confirm that the treatment of the stories remained true. At the same time, the workshops began in the school. We began to understand the immense task of running the project with regular participants, as occasionally there would only be a 50 per cent attendance rate. Nevertheless, the students who attended responded well to the workshops.

The next stage was that students chose their favourite skill to practise. This was run as a ballot, where students numbered their preferences. Most students got their first choice, but some were placed in their second preference on the advice of education assistants, who were either their parents or knew them well. Once all the students were settled into their groups, the intensive workshops began in earnest. Teachers were there to assist artists in marshalling the groups, but they also got to have fun and pick up skills as well. Sandy McKendrick led the puppetry group, in which students learned how to build a variety of puppets and how to express and move them. There were always big smiles, laughter and concentration around Sandy’s group. Rachel Ogle and Sete Tele, together with their group of students, choreographed dances to be used in the show. Bruno Michel managed the circus group. Many students had skills already – some were natural flippers, and some had retained juggling skills from the previous year. This was a great chance for the experienced students to consolidate their skills and for new students to be introduced to the joys of circus.

Jordan Bryon organised and trained the documentary group, using her own digital cameras and the school’s Samsung tablets. Jordan had a lot of work to do as her other role, running parallel to the workshops, was to record the project in film. I led the animation group. My students also worked on the Samsung tablets, learning animation basics and how to apply those principles to plasticine, paper cut-­ outs and back-­lit sand animations. Finally, after a week of stories and three weeks of workshops, it was show week. We went into overdrive. Students did rehearsals, run-­throughs, blocking and timing. Cues, lines and costumes were developed. Meanwhile, all the film, animation and audio elements were being compiled to produce the show’s audio-­visual component. On the big night, wedged between two Fridays of sports carnivals, we felt on track. Despite the heavy program, all the students and teachers were still really motivated. We were uncertain, however, how many people were coming. Had anyone heard the radio? Had they read the flyers? Was anyone interested enough to come?! People started arriving early. By show time, we had about 300 people, including many families and friends. As well, students from the nearby School of the Air camp came; separately, Sandy had done some puppet workshops with this group. What a great night! The kids met all their cues; they were a well-­oiled theatrical machine. It was fabulous, and people were talking about it for days and grinning about it for weeks. Bayulu was one of the most rewarding experiences of my artistic life. The project flew because the school

Above: Bayulu students learning how to operate the big snake puppet with Sandy McKendrick (photo by Gwen Knox) Below: Sandy McKendrick teaching children how to make their own puppets (photo by Gwen Knox)

wholeheartedly welcomed us and made room for the project to flex its wings. The stories translated exceptionally well to the new mediums, but, for me, the greatest challenge of the project was allocating the stories among the mediums. With so many mediums and skills to choose from, which is the best one to represent a kangaroo or the mysterious snake in the waterhole? The final show was fun and spectacular. The school now has the documentary footage (and the raw footage), and we are trying to get the documentary to air on television so that it can be watched across the Kimberley. THEATRE KIMBERLEY INC. CATEGORY B

REGIONAL

CATALYST FUNDING AMOUNT

$15,000

TOTAL PROJECT COST

$77,965

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Justina Truscott and Shonitta Gordon (photo by Alana Pritchard)

The girls named their dance 6770 GOLD, as 6770 is the Halls Creek postcode. When planning their dance, the girls looked at topics relevant to their lives and the place in which they live. For example, they showed their respect for the rainbow serpent that made the local waterholes and their concern about the invading cane toad that is killing local wildlife. They explored issues in their community and took pride in their Indigenous culture, celebrating its uniqueness and strengths. Nguyuru Waaringarrem – Halls Creek Music Festival, an initiative of PRK Radio, was the first performance opportunity for the group. The music festival was attended by more than 1500 people, and students were proud of their performance. After the girls’ performance, ABC Radio interviewed the dancers, and community members commented on how moving their dance was.

ALANA PRITCHARD Acting Deputy Principal, Halls Creek District High School

Halls Creek is a remote town in the Kimberley region of Western Australian. It is home to the Indigenous Jaru (Djar-­u) and Kija (gKid-­ja) peoples, and Indigenous people represent over 70 per cent of the town’s population. Halls Creek District High School is one of the largest remote schools in Western Australia. The school was supported to develop a program that focused on girls’ mental and physical wellbeing, including their self-­esteem and self-­image. In conjunction with the Australian Girls Choir and their Girls from Oz program, the school created an after-­school performing arts group for girls. The intention was that the group would perform at the Youth on Health Festival (YoHFest), which is Western Australia’s biggest youth performing arts event for high school students. In July 2013, a group of 15 girls aged between 12 and 15 started meeting on Thursday afternoons to create a dance to perform at YoHFest. The girls were expected to attend school, study hard and participate in all YoHFest after-­ school activities. The dance they created had to be linked to 2013’s YoHFest theme, which was “lifestyles”. 24

Students began brainstorming the theme to develop ideas. Ann Leaver, the founding director of YoHFest, visited the students in Halls Creek and discussed how and why she

“I had so much fun learning how they move their bodies, and I learned how to stretch to do the splits. It was tiring, but I still had fun,” said Lydia.

developed the program in 1998. Her thoughts and her discussion of the acts she had seen over the years gave students ideas to consider when developing their storyboards. Justina Truscott, a renowned Indigenous dancer from the Ochre Contemporary Dance Company, worked intensively with students for a week to help them choreograph a traditional dance with a contemporary style. The Girls from Oz program helped the students further develop their choreography. The Girls from Oz program of the Australian Girls Choir aims to help students who might otherwise be unable to participate in arts programs. This high-­quality performing arts program is delivered by passionate staff and former students of the Australian School of Performing Arts in schools around Australia, and it has been involved with Halls Creek District High School since 2010. The team sings and dances with and for students from kindergarten to year 9. They encourage the development of participation, self-­esteem, confidence, teamwork and risk-­ taking through drama, song, dance and leadership activities.

The group’s goal, however, was to perform at YoHFest, both at the preliminaries in Broome and at the finals in Mandurah. To help cover travel costs, students raised funds through a car wash, a sausage sizzle and a guess-­ the- ­number- ­of- ­jelly- ­beans competition. By September, the students had perfected their dance, developed their costumes and were ready for the Broome heats. The drive took more than seven hours, but the students said every minute in the bus was worth the three minutes performing on stage. The girls’ confidence while on stage was blinding. Watching them, and realising how much they had grown from feelings of shame and embarrassment in rehearsals to feelings of pride and confidence when performing in front of so many people, was fantastic. Not long after visiting Broome, students embarked on the journey to Mandurah, an hour south of Perth. Many students had never before been on a plane and were excited by this opportunity, let alone all the activities planned during their eleven-­day adventure. Students took part in activities that they would not normally be able to do in their town. They met professional dancers and did workshops with the Ochre Contemporary Dance Company and the Buzz Dance Theatre. Simon Stuart and Justina Truscott from the Ochre Contemporary Dance Company hosted the students for a day, allowing students to develop their choreography, stage presence and performance skills. It was amazing to watch the students’ barriers fall away and see them have the confidence to volunteer to perform for the rest of the group.

2013 Halls Creek YoHFest group (photo by Alana Pritchard)

“I had so much fun learning how they move their bodies, and I learned how to stretch to do the splits. It was tiring, but I still had fun,” said Lydia. The Buzz Dance Theatre workshop focused on choreographic techniques. Nicole Ward organised an activity with the students where they adapted pedestrian, everyday movements to create dance. Students then used the choreographic devices of time, embellishment and repetition to create a longer and more sustained piece. The girls’ comments included, “Wow! We made all of that in only two minutes!” Students were also given the opportunity to meet and work with students of similar ages from other schools, adventuring and canoeing with students from Pinjarra Senior High School. This was a real highlight for many, and they were surprised to realise that they enjoyed the same activities, music and movies. During their visit to Perth and Mandurah, the girls also visited Adventure World, the Perth Zoo and Parliament House, and they went surfing. The girls’ final performance at the Mandurah Performing Arts Centre was the culmination of the hard work, dedication, time, effort and heart they had put into the year. The camps, activities, opportunities, happiness and laughter would not have been possible without the many organisations and individuals that supported this event. The girls received a standing ovation at the end of their performance, which moved them to tears. HALLS CREEK DISTRICT HIGH SCHOOL CATEGORY D

REGIONAL

CATALYST FUNDING AMOUNT

$10,000

TOTAL PROJECT COST

$39,394

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Radio Advertisements Ten students from Albany Senior High School spent a morning with local actor and writer Jon Doust creating a script for an advertisement that reflected the theme “What I hate about living in the Great Southern”. Victor O’Connor joined them in the afternoon to record the students and layer their advertisements with sound. The intensive one-­day workshop resulted in four complete advertisements that were aired with the radio plays and played at the live performances.

Rachel Colmer and Simon Woodward performing live in one of the local shops (photo by Julian Blogg)

BASED ON A REPORT BY JO SMITH Project Coordinator

Radio Plays was a collaboration presented by Creative Albany–Bookmark and radio stations ABC South West and ABC Great Southern. The project included two separate but related parts: Radio Plays and Radio Advertisements. Radio Plays

Tash Connors performing live (photo by Julian Blogg)

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Writers in the community were encouraged to tell stories based on a satirical theme: “What I hate about living in the Great Southern”. Twelve stories were submitted to the radio station, and the writers were invited to attend a workshop on writing radio scripts with playwright Polly Low. The turnout was a diverse group of people, from accountants to farmers. In a full-day workshop with Polly, four plays were chosen and further developed into scripts. The radio scripts were recorded in October,

post-­produced by ABC Radio’s sound producer Ian Church and performed on air in November. Broadcasting the radio plays on the local ABC radio stations allowed the project to reach a wide audience of all ages. Three live performances, in a mock radio studio, were staged in venues around Albany, and 136 people came out to support the performances. The stories were from Albany locals and mirrored the personality of Albany and its community. Writers were encouraged to use their own voices and their own language to show who they really are.

Radio Advertisements continued the work of the Finding MY Place program, which helps disadvantaged young people, those at risk of becoming early school leavers, through library-­based workshops that motivate them to continue their education. Young people were given an opportunity to be heard without judgement and to reach a mass audience. Participants were mentored by professional artists, which developed their skills and self- ­c onfidence.

The Benefits Many people listened and phoned in to talkback radio during the week of the project’s airing, adding to the community atmosphere. People from all generations took part, as early career professional writers, students and retirees participated in this project. The age range went from 15 to 68 years old. One of Radio Plays’ highlights was an improved understanding and relationship between the younger and older participants. Not only that, the project catered to a broad range of interests.

Unforeseen benefits and highlights included: •

The audiences saw the participants’ words come to life. They came to see how their family members’ and friends’ voices and words represented their community.

•

Radio listeners increased.

•

Two of the writers went on to pursue writing for theatre.

•

People came to Albany from around the region.

•

Supporting a larger number of writers than expected, the project ended up adding an extra performance at a local primary school.

•

Participants were exposed to Foley artists’ traditional methods and modern technology. From this exposure, one participant is now doing work experience at the Albany Entertainment Centre and hoping to find employment there. (Foley effects are the realistic background sounds added to film and radio recordings.)

A real sense of belonging in the community came from this project. The skill expansion through mentoring and workshops was one of the highlights, and seeing the participants grow and come alive through creativity was very rewarding. We hope that Creative Albany– Bookmark continues to enliven the community with their creative projects.

Top: Participants pausing between plays (photo by Julian Blogg) Bottom: Sound-­art mentees rehearsing together at Southern Edge Arts studio (photo by Jo Smith)

CREATIVE ALBANY–BOOKMARK CATEGORY B

REGIONAL

CATALYST FUNDING AMOUNT

$14,000

TOTAL PROJECT COST

$21,773 27

The Catalyst Community Arts Fund supports projects that: •

facilitate and support Western Australian community-determined arts and cultural activities, especially those that express local culture and identity

•

promote the values of community empowerment, social inclusion, respect for diversity and self-determination.

This fund focuses on communities participating in the arts and learning new skills.

Thinking About Applying for a Catalyst Community Arts Fund Grant?

Funding Categories and Amounts

We strongly encourage you to contact CAN WA in the lead-­up to each funding round to discuss your project idea and to take advantage of the support provided by our funding officer.

Before applying to the Catalyst Community Arts Fund, please visit CAN WA’s website or contact CAN WA to ensure you are aware of current categories and funding guidelines. CATEGORY

FOR PROJECTS THAT

TOTAL POOL AVAILABLE

A – Innovate

develop new and innovative community arts practices

$15,000

$15,000

B – Create

express local culture and identity

$75,000

$15,000

C – Develop

promote professional development for community artists and cultural development workers

$10,000

$10,000

D – Explore

explore mental health issues and/or engage with groups at risk of mental health issues



$25,000

$10,000

Important Dates Round 1

Applications close 30 March for projects beginning after 1 July. Round 2

Applications close 30 September for projects beginning after 1 January. Applications must be submitted or postmarked by 5pm on the closing date. 28

APPLICANTS MAY APPLY FOR UP TO

Free Funding Workshop CAN WA delivers a free workshop approximately six weeks before the March and September rounds. The workshop helps you to formulate your ideas, understand the process and selection criteria, and learn how to better write a funding application and prepare a budget. It also offers information about other funding opportunities available. Further information on the date, time and location of the workshop will be published closer to the rounds on our website and in the Around the Campfire e- ­news.

Guidelines and Application Forms Guidelines and application forms can be downloaded from www.canwa.com.au/doing/catalyst.

Catalyst Funding Panel Applications are assessed by a panel of professional community artists and arts workers from around Western Australia. CAN WA would like to thank the assessment panel for their contribution to the Catalyst Community Arts Fund.

Fire sculptures at Mungullah village as part of Gascoyne Fire Tableaux project by Gascoyne in May (photo by Anton Blume)

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Dream. Plan. Do.: An Introduction to Community Arts and Cultural Development is a comprehensive “how to” community arts publication and film resource produced by CAN WA. It is designed to inspire and guide individuals, organisations and communities to get involved in community arts. The publication addresses what community arts and cultural development are, why they are beneficial and how you go about delivering community art projects. It includes an in-depth exploration of the process and practical steps to follow. The accompanying film features 17 Western Australian and two Polish community artists who share their views on working in community arts. They discuss some of the highlights, common challenges and ways to approach community arts projects. Dream.Plan.Do. is available to purchase for $25 (excluding postage and handling). Contact [email protected] or call (08) 9226 2422 to get your copy. A sample of the chapters and accompanying film can be viewed online at http://www.canwa.com.au/canwa-resources/ publications/project-publications/.

It is some of most joyful and soulful work you can do. Do it! Michelle Hovane, Artist (commenting on community arts)

If you can’t actually be there and witness firsthand the power of community arts, then the next best thing is to check it out on film and hear what practitioners have to say about what happened to them. Dr Dave Palmer, Senior Lecturer in Community Development, Murdoch University

Dream. Plan. Do. will encourage and support communities initiating and running their own community-arts and cultural projects, as these will in turn contribute to the wellbeing of their communities. Hon. John Day MLA, Minister for Culture and the Arts

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From top: Our Place community arts project participants from Lamp and coordinated by Elaine Clocherty (photo by Kristy Orken); Sculptor Toby Bell and workshop participant Kary Lisignoll, Gascoyne Fire Tableaux project by Gascoyne in May (photo by Anton Blume)

Department of Culture and the Arts

Australia Council for the Arts

The Western Australian Department of Culture and the Arts offers a range of funding opportunities and support for the arts across Western Australia.

The Australia Council for the Arts supports community arts and cultural development through community partnerships. The support takes the form of grants to individual artists, financial and operational support to community arts organisations, community partnership support services and initiatives to build capacity across the sector.

For more information on funding, visit the department website: www.dca.wa.gov.au/funding.

For more information on community partnerships and funding opportunities, visit the grants section of the Australia Council for the Art’s website: www. australiacouncil.gov.au/grants.

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Clockwise from top left: Community member painting details of the mural as part of the Brockman Street Community Art Project by the Shire of Manjimup, Home and Community Care (photo by Fiona Sinclair); Painting created as part of the Expressions of Indigenous Identity project by St Catherine’s College (photo by James McCarthy); Photo booth princesses at the 2014 Barramundi Concert painting workshops and photo booth project by Gelganyem Trust (photo by Rocky Sutherland)