The streets of the Blacktown CBD will come alive with a full day of live music on Thursday, 24 May 2018.
‘Bite’ your way through our city’s diverse cuisines while you listen to a curated music program of some of the region’s best artists.
Download the 2018 Beats & Bites Program
Beats & Bites
Blacktown CBD
Thursday, 24 May 2018
Photo credit
Gerrie Mifsud
Vonne Patiag is a filmmaker whose roots lie here in Blacktown, as well as the Philippines. His most recent creative venture, TOMGIRL, is part of Queer for Short: Home Grown, a collection of short films by emerging local filmmakers that tell authentic stories of LGBTIQ experiences.
Written, filmed and produced by Vonne and his team on the streets of Blacktown, TOMGIRL explores the intersection of both queer culture and Filipino culture within our communities.
You’re a filmmaker from Blacktown; can you share with us the journey that brought you to TOMGIRL?
I’ve been working as a filmmaker for almost ten years now, but it wasn’t until I moved home to Western Sydney two years ago that I regarded myself a storyteller. I found myself drawn to more authentic stories resonating with my own life, culture and family. TOMGIRL is the perfect lens to distil that experience of not only coming home to Western Sydney, but re-connecting with my Filipino roots.
When developing the project, I remembered meeting my older cousin in the Philippines. I was 8 and he was 16. His name was Norman, he wore makeup and high heels and I was just fascinated by him.
I began reflecting on how widely accepted he was in my family, and I thought this was such a precious starting point.
I then incorporated this into the larger story about a Filipino family in Western Sydney, and the various pressures put on a newly migrated family. For me, Filipinos are the most resilient people, and I wanted to craft a film that spoke to that strength while celebrating our shared culture.
Your film centres predominantly around Filipino bakla traditions. Can you tell us a little more about these traditions and processes, both here in Australia and in the Philippines?
Bakla is the cultural tradition where men cross-dress as women; they’re regarded as a Filipino third gender. Through my understanding of the culture, bakla aligns more with a cultural practice than a sexual identity. This touches on an innate fluidity found within Filipino culture, where these men dress for authenticity.
It was amazing to research and reflect on my own experiences of the culture, and at times it’s hard to describe the traditions, particularly in English. However, bakla were regarded as tribal leaders, and are now prominent entertainers, so they have always been well regarded in the Philippines.
It’s quite different in Australia and other Western countries, because the word bakla gets mis-translated to ‘gay’ in English, so bakla practitioners are usually mis-labelled as gay or transsexual. They don’t particularly fit perfectly into Western nomenclature for describing sexuality (LGBTQIA+). I see bakla as a more cultural tradition/practice, rather than a sexual identity, which went in hand in hand with my exploration of Filipino culture.
What is the significance of filming a story like this in Blacktown?
It really is about representation, something I’ve been thinking about more lately. Seeing my hometown streets on film/television really does ‘legitimise’ my experience of growing up in Western Sydney.
I hope the use of Tagalog reaches other Filipinos and people of other ethnic cultures, showing that Australia really is multi-cultural. There’s this gaping hole in screen/stage representation of Southeast Asian countries and identities, so I’m proud to have crafted a film that sits comfortably in that void.
The other side of the issue is that I really wanted to tell a Western Sydney story from the streets of Western Sydney. There’s now a lot of focus on the area, but it’s easy to see through stories that don’t seem to reflect the heart and soul of an area, especially if the creative teams aren’t from Western Sydney.
I wanted to use iconic locations such as the Blacktown train station, Station Arcade and Main Street, to put these spaces on nationwide screens in the hope that somewhere a child is watching TOMGIRL screaming “I KNOW WHERE THAT IS!”
To me, it’s so important to continue pushing for creative infrastructure in the area, to show budding storytellers that they can use stage and screen to tell stories, and how powerful that process can be.
Your film is an ambitious and beautiful project that explores the intersection of both queer culture and Filipino culture. Tell us what that intersection looks like in western Sydney?
Bakla practitioners are commonly performers, so many Filipinos encounter the culture through entertainment. But encountering queer culture is a bit different. Filipinos tend to have a “don’t ask” policy, where a family will just “know”, which I find so fascinating. I believe this stems from the tension within the culture, between this innate identity fluidity and strict Roman Catholic roots. It’s so different to Western culture, which seems to want to label everything!
In Western Sydney, there’s a clear lack of ‘spaces’ for queer culture to exist, and I find most people living in Western Sydney have a private and public self, a hidden dual identity of sorts. However, we spun this issue around and aligned it with a superhero theme, where Justin sees Norman as a superhero when ‘in costume’.
To me, it was important for these characters to simply celebrate themselves, and celebrate their differences, rather than examine these prescient issues of identity in the area. It’s subtly hinted at in some of Uncle Norman’s dialogue, but I wanted the queer/kitsch aesthetic to be the main overture of celebration and fun, as I never envisaged TOMGIRL to be an ‘issues’ film.
To me, Western Sydney has always been a place where everyone can be themselves, and I wanted to pay homage to that.
I’m proud to have made TOMGIRL in Blacktown, and hope it does contribute to the discussion about race, queer culture, geographical prejudice and the migrant experience in Western Sydney. I also hope it intersects with other cultures outside of Filipino.
I really hope to see more local stories on our stages and screens, as I firmly believe it is vital to our cultural landscape to see ourselves reflected in our own narratives. It’s the first step in truly seeing Australia for what it is – a diverse nation of many cultures.
And lastly, when and where can we watch the film?
TOMGIRL premiered on SBS On Demand on 8 February, and we’re also planning a string of screenings across Sydney throughout the year, all in Western Sydney, of course!
Watch TOMGIRL on SBS On Demand!
In 2017, Vonne was a recipient of a Blacktown City Creative Arts Fund grant, an initiative of Blacktown City Council that supports local artists and organisations.
Applications for the 2018 Fund will close on 8 March 2018.
Read more.
Photo credit
Christina Mishell
Have you visited your local library recently? Blacktown Arts has teamed up with Blacktown City Libraries to produce a series of bookmarks featuring artworks from the Blacktown City Art Collection.
Which artwork did you pick-up?
Ernest Aaron, Untitled, 2010, oil on canvas, 152 x 137 cm
Ernest Aaron’s painting is derived from a colour photograph that he took of a crowd of people at a music festival, and is part of his investigation into aspects of visual perception. The artist has reduced the detail and colour of the photograph in order to emphasise the abstract qualities of the picture, so that the likeness of the crowd becomes more ambiguous and tempts the viewer to resolve the shapes.
Cilla Davis, My Pond, 2011, pastel on paper, 53 x 64.5 cm
Cilla Davis painted pictures of the pond near her home in Waverton over 4 years, documenting its changes in watercolours, acrylic and mixed media. The soft chalk pastels in this artwork are the artist’s favourite medium. When Cilla first started painting the pond it was mainly as seen from above the water, but as the series evolved the small creatures and plants below the surface started to make an appearance.
Danny Eastwood, Creation of Life, 1991, acrylic on canvas on board, 120 x 200 cm
Born in Sydney and belonging to the Kamilaroi nation, Blacktown-based artist and cartoonist Danny Eastwood makes art based on his experiences. This painting is currently on public display in the foyer of the Blacktown City Council Civic Centre. In 2013, the Danny Eastwood and Jake Soewardie featured in the exhibition, The Good, the Bad & The In-between.
Jennifer Gabbay, The Ebb and Flow of Movement in the City, 2013, oil on board, 100 x 135 cm
This painting depicts the colourful life of a city. The theme of this painting derives from Jennifer’s travels and experiences abroad and her passion for colour which is an important painting element that brings energy to the artwork. Her technique of fragmenting the forms of the subject matter through a process of distortion creates an effective shimmering movement and rhythm to the character of place.
Rew Hanks, Stop! There’s no need to shoot the natives, 2013, linocut, 78 x 109 cm
The interpretation of significant historical artworks is a potent artistic tool for commentary on Australian history. This artwork engages with both the iconic 1902 image of Cook’s arrival by Australian impressionist Emanuel Phillips Fox, The Landing of Captain Cook at Botany Bay, 1770 and the more recent 2006 post-colonial interpretation by Indigenous artist Daniel Boyd, We call them pirates out here. In Rew’s linocut, Cook is seen admonishing his crew as they are about to indulge their hunting impulse. Their targets are two kangaroos ready to take flight. One is from a John Gould lithograph and the other from a George Stubbs painting. Rew’s image challenges the decision by the NSW government to allow amateur hunters to cull feral animals in National Parks without supervision and regulation, placing the safety of native wildlife in serious jeopardy.
Shalini Jardin, Watching Stars, 2008, acrylic and oil on canvas, 152 x 101 cm
Watching Stars is a semi-autobiographical exploration into themes of dislocation and belonging felt during the transition from one environment to another, and captures the time when the artist migrated from Asia to Australia. The night-time setting depicts the isolation one feels during moments of adjusting to vastly different surroundings and also the sense of stillness this process can bring, while the detailed rendering of facial features are symbolic of the South Indian art influences she grew up with.
Hyun-Hee Lee, Lost Letters II, 2011, ink on Hanji paper, 42 x 28 cm
Lost Letters #1 and #2 are part of a body of work which explores personal memories of the artist’s home and country, Korea. Hyun-Hee expresses private and public events and rituals in Korean life using a traditional script, written in her own style to write her own stories. Like memory, her stories are complex and unreliable, developing and changing with time. The ambiguity of the script conceals the details of Hyun-Hee’s stories, but also shows her feelings about moving from one culture to another.
Kate Mackay, Red, Yellow, Blue, 2007, oil on MDF, 35 x 107 cm
Red, Yellow, Blue is part of a series of relief works resulting from random combinations of squares and blocks. Kate Mackay is concerned with process, and with random difference within uniformity. A series of pre-determined ‘rules’ control the creation of each series of works. These ‘rules’ are then followed through to their logical conclusion, and a complex series of artworks are created by the repetition of simple elements.
Brendon Mogg, Early Morning Light, 2011, oil on canvas, 101 x 101 cm
Early Morning Light is a contemporary representation of the lush green parklands, the open high skies and the subtle changeable weather patterns of the Inner Western Sydney suburb of Haberfield. Brendon’s technique and use of blended pure oil paint has become a hallmark of his practice.
Johan Neve, Westy, 2007, acrylic on canvas, 145 x 154 cm
Johan Neve’s signature raw style is witty and humorous, while presenting underlying social themes and stereotypes. This work was acquired through the 2007 Blacktown City Art Prize, and received first prize in the painting section.
Leanne Tobin, Nurragingy and Colebee’s Land Grants 1819 at the Black’s Town, 2009, acrylic on canvas, 45 x 90 cm
The significant event which led to the name of Blacktown is one of momentous importance in the history of Australia: the first land grant ever given to Aboriginal people. At the heart of the story stand Nurragingy and Colebee, highly regarded at the time by both the Aboriginal and European communities. Their motives were to bring a just and peaceful resolution to the years of conflict following white settlement. In Leanne Tobin’s diptych painting, Colebee and Nurragingy are seen enclosed in their land grants, where they were expected to plough and grow the newly introduced crops and become farmers.
Jason Wing, Our River, 2008, spray paint on found street signage, 91 x 59 cm
Jason Wing draws inspiration from his cultural ancestors and spirits. His paternal side is Cantonese and his Aboriginal mother’s family are Biripi people from Taree in New South Wales. Our River comments on the current contamination of our waterways and how it affects us and future generation. It is also a reflection on the memory of the Burramatta people’s harmonious relationship with the land as opposed to the scourging of the land in the recent past.
Terrence Wright, Uncle Bill in Glass, 2011, glass (didjeridu), 90 x 12 x 12 cm
This artwork was inspired by a Crocodile Man from Borroloola whom Terrence Wright has known for over 20 years and proudly calls ‘Uncle Bill’. The design is based on the underbelly and topside of the crocodile skin. The glass didgeridoo is the evolution of the traditional instrument and an extension of the main influence of dendroglyphs (carved trees). Terrence is an Yuin Koori artist who wants people to have a sensory experience with both sight and touch. Terrence describes his artwork as being usable art and even playable, in which tradition is reinvigorated evolving and changing.
Connect with Blacktown City Libraries
Website www.libraries.blacktown.nsw.gov.au
Facebook BlacktownCityLibraries
Instagram blacktowncitylibraries
View Blacktown City Council’s entire art collection online
ehive.com
If you’ve visited Charles at the pop-up barbershop at Blacktown Arts Centre (or the one in his actual garage), you’ll be familiar with his fine taste in music.
Charles, aka Six Pound, is a local barber and all-round good guy. Sampling a diverse mix of 90s RnB and soul classics, Charles’ playlists are the soundtrack to his Garage Barbershop.
Listen now on Spotify:
FEEL GOOD
90s RnB
Garage Barbershop
In partnership with Information + Cultural Exchange
11 May – 3 June 2017
Charles Lomu, aka Six Pound, throws open his garage door for a multi-faceted project that explores notions of how men build community and identity in the sacred space of the neighbourhood barbershop.
The project – which includes barbering workshops for local young men, photographic portraits by Harold David, a video work, and new music – culminates in an exhibition and performance at Blacktown Arts Centre.
Connect with Charles Lomu
Book a haircut Six Fades
Instagram six_fades
Spotify Charles Six Fades Lomu
Photo
Garage Barbershop by Harold David, 2017.
“The experience of growing up in Mount Druitt informs all my work, which is both personal and political…You can find inspiration in a car park.”
– Karen Therese
Initiated by Powerhouse Youth Theatre’s director, Karen Therese in 2012, FUNPARK returns to Bidwill on Saturday, 22 April 2017 from 3 pm – 6 pm. Join the community and artists for a family-focused live art event that re-imagines Bidwill Square!
FUNPARK is coordinated by the Bidwill community, and supported by a coalition including Blacktown Arts Centre, Powerhouse Youth Theatre, Curiousworks, Bidwill Uniting, Urban Neighbours of Hope and Learning Ground.
Highlights from the original FUNPARK 2014 are in Sean Bacon’s video below.
Photo credit
FUNPARK 2015, photograph by Audrey Newton, 2015
Abdul Abdullah, Idil Abdullahi, Liam Benson and Amala Groom
Curated by Tian Zhang
Curator Tian Zhang, who recently worked with us as a producer on Home Country (Urban Theatre Projects), brings together a group of talented young artists in a new exhibition at the Peacock Gallery.
In I Am, You Are, We Are, They Are, artists Abdul Abdullah, Idil Abdullahi, Liam Benson (2017 artist-in-residence) and Amala Groom (Highly Commended, 2016 Blacktown City Art Prize) explore notions of Identity, representation, visibility and belonging.
“First and foremost, it was important to select artists whose works speak from their own unique perspective and history,” said Tian.
“These artists stood out in the way that they were able to explore very complex issues surrounding identity, culture and history through their works. They are also relatively young, which to me represents the next generation of artists seeking to challenge our national identity.
“These artists are always challenging, questioning and confronting established representations, perceptions and concepts of being Australian. They remind us that current ways of thinking or operating do not necessarily benefit everyone equally and seek to redress this.
“Together, they create a more realistic and inclusive conceptualisation of this nation.”
I Am, You Are, We Are, They Are
21 March 2017 – 14 May 2017
Peacock Gallery & Arts Studio, Auburn
Find out more about the exhibition and public program here!
Connect with Peacock Gallery and Arts Studio
Website Peacock Gallery and Arts Studio
Facebook Peacock Gallery Auburn
Photo credit
Liam Benson, Coat of Arms, 2009, C-type print
“Jam nights are where pure inspiration, improvisation and collaboration come together to create an infectious energy, with music being the common electrifying thread.” – Eric Fortaleza
Last year, Eric Fortaleza, recipient of the 2016 Performing Arts Residency at Blacktown Arts Centre, introduced The West Sessions with fellow local musician Dom Cabrera.
This lively jam night was an instant hit and provided an opportunity for musicians of all styles and abilities to unite in one location and share each other’s talents, energy and genuine passion for music.
This week, Eric returns with The Western Sydney Jam Session. Singers and musicians are invited to bring their instruments and play with house band, or just join us for a lively night of great music.
All ages, styles and musical abilities welcome.
The Western Sydney Jam Session
Wednesday, 15 February 2017
7 pm – 8 pm
Blacktown Arts Centre
Connect with The Western Sydney Jam Session
Facebook The Western Sydney Jam Session
The West Sessions house band 2016, featuring Eric Fortaleza, Dom Cabrera, Seb Bartels and Glenn Lumanta.
Video
Raphael Miguel Canillas
Solid Ground is a three-year strategy established in partnership with Carriageworks that provides pathways into the arts and cultural industries for young Indigenous people in Blacktown, Redfern, and Waterloo.
Young Indigenous Australians in Western Sydney face significant barriers to education and employment. With only 1.3% of Indigenous young people in Blacktown going on to tertiary education, and only 19% of Indigenous people aged over 15 completing year 12, the disconnection is real.
Solid Ground identifies young Indigenous students at risk of leaving secondary education – and those who have already left – and connects them with the arts industry through a comprehensive program of individually devised education and on-the-job training within the arts sector.
Our partners at Carriageworks, the National Art School, National Aboriginal Islander Skills Development Association, Australian Film, Television and Radio School, and secondary schools across Sydney understand the geographical, cultural and socioeconomic obstacles faced by Indigenous students when accessing traditional education programs. Together we will provide a strong network of support and mentorship to create meaningful change in students’ lives – now and for the future.