Restless Giant: Changing Cultural Values in Regional Australia by Lindy Hume. Platform Paper No 50, Currency House, February 2017.
Commentary by Frank McKone
February 23
“The
Regional Australia Institute, the Canberra-based independent research
and advocacy body for regional Australia, uses the following definition
in which Darwin and Hobart would count as regional centres:
"Regional
Australia includes all of the towns, small cities and areas that lie
beyond the major capital cities (Sydney, Melbourne, Brisbane, Perth,
Adelaide and Canberra).
"This definition will not satisfy everyone it seeks to encompass”, writes Lindy Hume.
I
suppose I’m pleased that Canberra is nowadays a “major” capital city
rather than the “regional centre” which was how it looked to me from my
acting/directing role in distant Broken Hill Repertory Theatre, with
Canberra Repertory Theatre and Canberra Philharmonic Society vaguely in
my sights in 1965. So I went to Sydney for a bit of academic study,
then moved out of Sydney to the Wyong Drama Group 1967 to 1973.
Finally
arriving in Canberra revealed, in 1974, Reid House from which new
theatre alongside Rep and Philo (including Tertiary Accredited Drama in
the secondary school system by 1976) grew into a myriad of often
short-lived companies and the complex scaffolding of today,
incorporating Queanbeyan’s The Q and all the participants in the annual
CAT Awards from an ever-increasing region. This year the CATs were
awarded in Dubbo, some 400 kilometres away, and the company has dropped
its original title – Canberra Area Theatre awards – in favour of just
plain CATs. With an 800 kilometre diameter, surely this makes Canberra
and its region “major”, now. With the blessing of T S Eliot no doubt.
But
there’s still a difference between Canberra and the others: Brisbane,
Sydney, Melbourne, Adelaide and Perth. Though our population is
reaching towards 400,000, we still do not have the same kind of top
quality tertiary level drama or dance training institutions here
(despite many valiant attempts) – and even the School of Music has
struggled, in my view ever since it was taken over by the Australian
National University. Nor do we have a long-term full-time fully
professional theatre company, despite the past successes of the
now-defunct theatre-in-education The Jigsaw Company (1976 – 2014) among
several others with shorter lives, such as Women on a Shoestring and the
recently formed Aspen Island Theatre Company. Maybe Canberra fits
somewhere between those other capitals and Hobart and Darwin.
Of
course, in visual arts and literature, and even in movie-making in
recent times, Canberra has been one of the giants, but our theatre is
still very much in the restless stage. Hume refers to Lyndon
Terracini’s A Regional State of Mind—Making art outside Metropolitan Australia
saying “it was, and ten years on is still, an inspiring and prescient
read”. Terracini “celebrated what is now widely known as the Culture of
Place, and invited us to imagine a great Cultural Pyramid whose
‘summit’—Australia’s professional companies— is supported by a broad
base, the grassroots community activity flourishing across regional and
urban Australia. I revisit these concepts in the context of the new
leadership, inspiration and innovation I see all around me, and the rise
of a new, more assertive ‘regional state of mind’."
And, in fact, we could easily say that Hobart and Darwin in some ways seem more assertive than Canberra.
But
it’s also true that Hume notes the leadership and inspiration of
one-time Canberrans, such as Elizabeth Rogers who was Director of
Canberra Arts Marketing for more than six years and is now CEO of
Regional Arts NSW, and Lyn Wallis who was Artistic Director of The
Jigsaw Company for four years, and now runs HotHouse Theatre in
Wodonga. Also quoted is someone I might call a Canberra original
restless giant: “Mikel Simic, better known as the flamboyant Mikelangelo
of Black Sea Gentlemen fame, recently relocated from Melbourne to the
high country outside Cooma:
“It’s not airy fairy to say that
the natural environment changes the way you function as a human being,
it has an effect on you as an artist. The river, the sky, are characters
in my work, they’re more than just a background setting.”
Lindy
Hume has also made the move from big city life as “one of Australia’s
prolific festival and opera directors” to the far south coast near
Cobargo, “where I served for several years as Chair of South East Arts”,
saying “I wanted to write on this subject because I sense a moment of
shimmering potential, an alignment of the great forces of Australia’s
psyche—our regional and our city cultural identities. It’s a vast and
challenging notion, and it’s thrilling to consider.”
It’s her
enthusiasm for changing the perspective of artists (not only theatre
practitioners who are her main interest) away from the conventions and
expectations of artistic life in cities like Sydney or Melbourne that is
the key to this Platform Paper. The point was made by poets like Henry
Lawson and Banjo Paterson more than 100 years ago and the distinction
between the ‘big smoke’ and ‘the bush’ is still a standard concept in
Australians’ thinking, even if we do use ‘metro’ and ‘regional’
instead.
And I still find myself remembering, as I review shows
in Sydney’s Roslyn Packer Theatre, at Belvoir, and even at the more
local small theatres like Eternity Theatre in Darlinghurst or Ensemble
Theatre in Kirribilli, the community spirit of searching all over town
for the correct Japanese sword to use in Broken Hill Rep’s The Teahouse of the August Moon,
and finding the exact model of Jeep way down in an open-cut mine (with a
loose gear lever and no brakes – but I still drove it up and onto the
stage). While nowadays I’m impressed not only by the acoustics and
sightlines of The Q in Queanbeyan, but also by the friendly, indeed
homely atmosphere there, even compared with nearby Canberra.
In
the end, Lindy Hume’s essay is not just a bureaucratic plea for better
funding for the arts in regional areas (though she even manages to
praise ex-Arts Minister Brandis: “One of the most highly valued
initiatives is the Federal Government’s Regional Arts Fund (RAF): $12.5m
over four years targeted ‘to activities that will have long-term
cultural, economic and social benefits.’ RAF is delivered on behalf of
the Federal Ministry for the Arts by RAA and its member state
organisations. Another is Catalyst, the controversial Brandis-created
funding instrument, which has proven an unexpected boon to regional
artists, with 37% of $23 million ($8.5 million) of total grant monies
awarded to regional projects as at May 2016. Time will determine the
impact and longevity of this new funding avenue.”)
The essence of her contribution is to say, of living in the country:
“It’s
where I come for nourishment and escape from the ambient noise of the
world. My experience, and that of many Australian artists in my
community, reflects Don Watson’s, in his book The Bush: travels in the heart of Australia:
"As
much as the grime, in the city there is the din of predictable opinion,
especially one’s own opinion, which week by week, year by year, becomes
a sort of metronome sounding at some distance from whatever remains of a
sense of actual self.
“In summary, the diversity of my
experience has created a framework for reflection. I write as an
artistic director, an advocate for excellence in the arts in regional
Australia, but primarily from the personal perspective of an artist who
chooses to live and work in regional Australia. Mine is both a
passionate appeal and a challenge, in this time of cultural flux, to
explore the abundant possibilities of imagining our national cultural
landscape in a different way, as an integrated metro-regional ecosystem
that truly reflects the adventurous and enterprising contemporary
identity of ‘the heart of Australia’.”
So perhaps that’s where Canberra fits: as a metro-regional or in the latest vernacular, announced at today’s launch, ‘hyper-local’ ecosystem reflecting the adventurous and enterprising contemporary identity of the heart of Australia.
I
certainly hope so. The launch here today, with Julian Hobba (Artistic
Director, Aspen Island Theatre Company); Mikelangelo (alone, without the
Black Sea Gentlemen); Kate Fielding (Director, Regional Arts
Australia); Karilyn Brown (Chief Executive Officer, Performing Lines -
producers of new and transformative performance) joining Lindy Hume for a
panel discussion, which went 45 minutes over the allotted time, was
very encouraging.
Perhaps the essential theme was that
‘hyper-local’ means that excellent work should flow around the nation
beyond its local place of generation, a new structural network of
artistic creation rather than the pyramid of old.
© Frank McKone, Canberra
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