art activism for
community development through
civic engagement and cultural exchange
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Training with Tak Hoyoung
Korean Language through the body
Tak Hoyoung, who you might remember as the owner of 지하 Underground (pictured below) is running weekly training sessions that teach basic Korean language through physical and creative activities.
Tak Hoyoung in Underground, produced by Motherboard Productions as part of Metro Arts Independents 2011. Photo by Fen Lan.
You are more than welcome to join me and some of the 지하 Underground team! Here's the details:
Dates:
Wednesday 7th December, 2011
Tuesday 13th December, 2011
Tuesday 20th December, 2011
Tuesday 10th January 2012
Tuesday 17th January, 2012
Tuesday 24th January, 2012
Tuesday 31st January, 2012
Dates may be subject to change.
Time: 6pm – 9pm
Venue: Ausdance Studio, Judith Wright Centre of Contemporary Arts, 420 Brunswick Street, Fortitude Valley
Cost: $10 per session, paid weekly
If cost is a barrier to your attendance please contact me, we can organise an IOU or waive the fee
Bring: Comfortable clothes suitable for physical activity, water bottle, notepad and pen.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
2011
archived welcome note #1
My year in Tonga has come to an end, I’ve finished the Korea International Performance Art Festival tour and now I’m on my way “home” to Brisbane via the Critical Learning In Arts Practice Conference in Edinburgh, Scotland.
To all the artists, activists, social entrepreneurs, educators and audience members I’ve met along the way, thank you for sharing your stories, work and love. Please stay updated on my experiments and adventures by visiting my blog and learn more about Offset Art by browsing this fab new site, created by ZHC. We all have a lot of friends to make, I believe our future is bright.
— Nathan
Change The World
Reflection on Amnesty International's Human Rights Conference 2011
Tears rested at the edges of my eyes during the welcome to country on day one of Amnesty International’s 2011 Human Rights Conference. Maroochy Barambah’s emotive voice and story filled the space. I felt awe, appreciation and sadness all at once. As I reflect on this conference, themed Change The World, I thank Maroochy for that initial welcome and take a moment to personally acknowledge the first owners of this land – the first artists and activists of Australia. This always was and always will be Aboriginal land.
I would also like to thank Amnesty Internatinal for offering me a scholarship to attend the conference. Here I'd like to share a few of my notes and thoughts...
Shifting Powers
In Future Directions in Human Rights; What Does The Future Hold? Salil Shetty, Amnesty's Secretary General, celebrated some of the successes of Amnesty International over the past fifty years, before exploring what issues will be play a key role in the development of human rights in the future. “Who will rule the world?” asked Salil, noting that the geo-political balance is shifting and that western powers that were previously seen as leaders now appear less arrogant and confidant.
Women’s Rights
Shetty stressed the importance of the inclusion of women in decision-making roles. After working in the area of sexual health, I was satisfied to hear him advocate for the decriminalisation of abortion “and thus save lives.” In Human Rights In Our Region, Widney Brown, Amnesty's Senior Director of International Law and Policy, later added to this discussion, stating that women’s empowerment required meaningful education, economic independence (not just access to money) and sexual autonomy (no body is a commodity, and no belief systems should police anyone’s sexuality).
Changing Demographics & Indigenous Rights
Somehow, somewhere, someone has predicted that this month the world’s population will reach seven billion people – and Shetty noted that the majority of people now live in cities. These changing demographics give rise to human rights issues around housing, access to services and displacement while increasing the pressure on natural resources that often directly affects Indigenous communities. Brown stated later that the “race for resources” is an increasing threat to the human rights of Indigenous People across the globe.
Traditional homelands are home to nearly one-third of Aboriginal people in the Northern Territory. Research shows that with proper services people can be healthier, live longer and contribute valuable work on homelands, all with their identity and connection to the land intact. Yet the government's policy of stripping funding from essential services will effectively force people into hub towns and cities. (Amnesty International)
I wrote to Hon. Jenny Macklin MP, Minister for Families, Housing, Community Services and Indigenous Affairs, telling her I care about the rights of Aboriginal people. I asked her to consider Aboriginal people’s connection to land and culture and ensure that people living on homelands have access to essential services so that they do not become victims of forced evictions. You can write to her too here.
Migrant Workers
Brown explained that many migrant workers in the Asia Pacific Region find themselves in dirty, dangerous and difficult jobs – often with lower pay rates than others. She expressed her concern for un-skilled women who enter jobs (usually domestic or entertainment roles) wherein their human rights are abused. Both the country from where the workers come from and the country that receives the workers can somehow escape being held accountable for the migrants’ human rights. This is unjust enrichment at the price of the poorest people. In this globalised world, the free flow of capital is encouraged, but the flow of workers across borders in restricted.
Refugees & Asylum Seekers
On day two, Julian Burnside QC, shared insights into the asylum seeker and refugee debate and drew attention to the false rhetoric used by politicians around this issue. 90% of boat peoples' claims for refugee status are approved – yet they – including, women and children - are locked up for indefinite amounts of time in poor conditions. A greater number of asylum seekers enter Australia on planes holding tourist/student visas then apply for refugee status. These people are allowed to remain in their community while their claims are processed (a matter of years) but only 40% of these are approved. Why do we lock up those most likely to be genuine refugees, just because they arrive by boat?
We were all reminded that if we were faced with the option of living in fear and putting our families in danger, or using people smugglers to transport us to a safer place, we would have no choice. Why then is Australia so harsh to the people that are doing exactly what we would do if we were in their shoes? To end people smuggling is to take away many people’s last chance at survival.
I learnt that it is not “Offshore Processing” that is the problem – it is where (and how soon) refugees can re-settle that matters. When our politicians suggest offshore processing, they mean that refugees will be processed offshore, and they will stay offshore.
Law
I am an artist, and the whole world of law is foreign to me, but day one’s panel discussion gave me an insight into Australia’s constitution – especially the shocking components that overtly discriminate on the grounds of race (a dis-proved scientific theory). I was moved once again as an elderly man stood and asked, with sincerity and urgency, why do we continue to use the word “race” at all? And, he added, "can someone please define Caucasian?” One member of the panel said that the word race should only be used once in our constitution, in a law that bans the use of the word race in any other law. He quickly added that, Aboriginal and Torres Straight Islander peoples should be acknowledged in the constitution as peoples – not because of their “race” but because of their history, connection and valued role in Australian society.
Media
The media world is another foreign beast to me, but what rang true to me in the panel on day two, was that good stories, while they may not be “human rights stories” often deal with what is to be human, and can stimulate empathy and advocate for fairness. The exploration of an issue is strengthened if told/packaged in the context of a human story, which is what audiences connect to. I was saddened to hear that news that’s appealing when viewed through “redneck goggles” is the news that sells.
Activism
Throughout the conference I was inspired by stories of activism that had lead to positive change. On day one I was encouraged by Steven Crawshaw’s stories of protests in Poland in 1981. One of his observations really resonated with me: those who resist change often see those who are optimistic about change as “unintelligent”. Crawshaw’s stories of “the power of the powerless” highlighted the transformative nature of courage and mischief. On day two Nick Allardice, change.org, spoke about the Youth Climate Coalition’s stunts that saw their climate change elephant infiltrate the election campaign. Nick discussed his projects: Generate and Live Below The Line. After that session I went up to my room during lunchtime and saw Nick's face again on TV discussing young people and politics on Insight. To sum up: Young people are good at leading change.
Uyghurs
We were so blessed to have former political prisoner, Rebiya Kadeer present at the conference to shed some light on Uyghurs, a group of people facing torture, discriminisation and abuses of human rights in East Turkistan. She gave an extremely emotional talk and I found tears welling once again. She is an inspiration, fighting for the human rights of her people. http://www.iuhrdf.org
Change The World
The conference developed my understanding of some pressing global concerns and offered inspiration to act. Over three days I also had the opportunity to peek inside Amnesty International and see how it operates as an organisation, and learn about the changes they are making and the rights they are campaigning for. Let’s continue these conversations as part of our effort to achieve fundamental fairness for all – a world where every individual feels safe, secure and empowered.
Knowing Ways; Critical Learning In Arts Practice
Edinburgh, Scotland
Knowing Ways introduced me to world leaders in the field of art activism and community development who are producing risky art and facilitating meaningful, transformational projects. Through formal presentations and casual peer-to-peer learning, I witnessed and contributed to dialogues about processes that use the arts to develop health, human rights, critical learning and positive social change. These topics relate directly to my art activism work, which aims to contribute to community development through civic engagement and cultural exchange. During this conference I had the opportunity to reflect on my work to date and enrich my artistic visions while being inspired by the work of others.
I am now connected to a network of artists, activists and academics that I met at the conference. I plan to keep in touch with these contacts and possibly collaborate with some of them in the future.
Personal Highlights of Knowing Ways:
- Speaking with art activist Karolina Bregula (Poland) about her public work Let Them See Us and discussing the commonalities in our arts practice along with the similar challenges we face.
- Chrissie Orr’s (USA) presentation on El Otro Lado - a project she is facilitating with young people in New Mexico.
- The project… engage(s) the creative process to explore our human connection to land, our sense of home and belonging, and our sense of boundaries and cultural divides
- Seeing how Adverb Productions (USA) are promoting health and LGBTQ issues via in-school performances
- Participation in process drama, Valsinki with Pilvi Kallio, Riku Laakkonen, Jani Tihinen and Jenni Bergius (Finland). These artists combined theatricality with drama activities to stimulate discussion around politics, city government and privatization.
- Meeting contributors and editors of the Arts and Communities journal, including conference director, Stephanie Knight (Scotland).
Attendance at Knowing Ways was made possible thanks to the Queensland Government (Arts Qld) and the Copyright Agency Limited (Cultural Fund)
Tea[r]
Korea International Performance Art Festival
Three years ago, whilst lying on the grass at Woodford Folk Festival, a Korean Performance Artist, Hong O Bong, dangerously swung a world globe covered in shaving cream over my head. At the time I never thought that I’d ever have the chance of touring Korea with him as a performance artist! But somehow these things just happen…
Hong O Bong’s own Bucheon International Performance Art Festival (BIPAF) was the beginning of a two-week tour of South Korea. Performance artists from Thailand, Japan, the UK, The Philippines, Taiwan, The USA, Australia and Korea came together showcasing a diverse range of performance art in Bucheon Subway Station over three days. After Bucheon, I travelled to and performed in a range of different spaces, from public city squares to sunflower farms in the mountains.
My essay on emerging performance art in Brisbane, Replaced to Displace was printed in the BIPAF catalogue, and you can download it here.
The performance piece that I presented was called Tea[r] – a walking meditation that emerged while travelling back and forth between Korea and Australian between 2006 and 2009.
Tea[r]
한국의 여러분 안녕하세요! 이 웹사이트의 모든 정보는 영어와 한국어로 제공될 예정입니다. 한국어 정보는 조금만 기다려 주세요.
Tea[r]
in search of energetic exchanges
Tea[r] is a visual performance stunt that seeks unity in a world where all appears separate. A displaced queer lover carries a large fragile cube; framing a safe, personal space wherein he can be alone, or spark an electric connection with a stranger. Temporary again, the lover vulnerably seeks the energy of new relationships, eye contact that speaks louder than language, and the touch of another in the here and now.
With no narrative, no language and no rules, performing Tea[r] is a liberating experience. The choreography is largely emotional rather than physical – while presenting a series of simple actions, this work focusing on presenting a series of energetic invitations.
The paper cube used in Tea[r] has a history and bears the scars of previous performances. It has been destroyed and repaired countless times and has travelled back and forth between Brisbane and Seoul on many occasions. Tea[r] vibrates between Korea and Australia, attempting to bring individuals from both countries closer together – to blur the boundaries between them and forge friendships.
Tear[r] was originally performed and filmed in Ui Cheon and was later performed at the 2009 Yeongpyeong International Performance Art Festival. The original video footage was later showcased as part of the multimedia performance, Nok Cha Café at the Under The Radar Festival (Brisbane, 2009), The Museum For Contemporary Arts Changdong Art Studios (Seoul, 2009), LG Fashion Gallery (Seoul, 2009) and Burnett Lane (Brisbane, 2010).
Offset Complete
VIP OTT raised money for the Red Cross
Often I find myself baffled by how money and time and energy are spent… While I appreciate the opportunity to showcase a new work in a public space that the council is attempting to invigorate with culture, I do wonder what changes could be made to the lives of the less fortunate in that space, if we could strike a more even balance… if we could spend a little more on the poor and a little less on the rich, locally… and globally… we’d be on our way to a better world.
I am dedicated to Offset Art. I am committed to fusing art and development and finding a meaningful, united place for art activism to exist. But I (and Offset Art) are young, and I'm still producing tiny works with small budgets to offset. But with every experiment I do under the banner of Offset Art, and with every donation I make… no matter how small, I learn so many lessons about how to produce art that is engaging and transformational in multiple ways.
Offset Art was able to match the cost of materials bought for VIP OTT and donate that amount to The Red Cross – particularly in support of helping young homeless people in Brisbane - a program designed to eradicate the need for young people to sleep on the streets.
Donation Amount $ 353.00 AUD
Offset Complete
Please Keep On The Grass makes donation to Greening Australia
We were able to match the cost of the materials required to create Please Keep ON The Grass ($485.15) and donate this amount to this project’s chosen group: Greening Australia.
About Greening Australia
Greening Australia is passionate about protecting and restoring the health, diversity and productivity of our unique Australian landscapes.
Greening Australia’s vision:
A healthy, diverse and productive environment treasured by the whole community.
Greening Australia’s mission:
To engage the community in vegetation management to protect and restore the health, diversity and productivity of our unique Australian landscapes.
Offset Art hopes to continue donating to environmental, aid and human rights groups, in an effort to create art that gives, and keeps on giving.