Acclaimed New Zealand Documentary Director, Annie Goldson is a strong formidable countenance and she needs it, as many of her subjects are capable of murder or the victims of the culpable hand. She needs to know when to back off.
Goldson began her career as a Journalist and has ‘inched her way’ into filmmaking. She tackles the hard facts behind the news stream and goes into the bog, looking for the truth. As a political observer she finds her stories ‘everywhere’, she is curious and like Alice in a complex Wonderland, has to adapt quickly. We may wonder why the terrorists are so irate, she takes her team and her camera and asks them. She is a historians torch into the unknown.
He Toki Huna: New Zealand in Afghanistan
Brother Number One, a challenging work, presents from past events of the Cambodian Genocide under Pol Pot.
New Zealander Ron Hamill, the films source, explains how his carefree adventurous brother Kerry ,sailed into a nightmare.
“An innocent man brought to his knees and killed in the prime of his life”Ron Hamill
Goldson records Hamill’s emotional pain as he addresses the torture and death of his sibling at the War Crimes Tribunal.
The mass Genocide that murdered 2,000,000 ( a 1/4 of the population) was led by a ‘charismatic and smiling’ leader Pol Pot who was indifferent to the torture of babies. In 1975. He led the Kamor Rouge into Nu Pen and in 72 hours he had cleared the city of its inhabitants and sent them to work in labour camps, to grow rice that he would export as the population died of hunger, overwork or beating.
“Documentaries are always a challenge.” Goldson
Her films are intense political dramas that set the stage and cast its light into the ‘heart of darkness.’ Her other well-known films that she Directed are; Punitive Damage and An Island Calling
All photo’s courtesy of Annie Goldson film extracts.
An A+ Melbourne band, Fulton Street is Smooth, Smart and Sophisticated. The purple Vinyl spins throughout the day, filling the lazy Sunday with a rich ambience. This band is beyond an emerging band of young musicians, as the finished quality of their sound begs disbelief.
FULTON STREET interview with Shannen Wick; Lead Singer.
The Start
I started Fulton Street in 2012 with our drummer, Daniel. We studied Indonesian language together at Monash Univeristy, and it wasn’t until we were forced to work together on a group assignment that we both discovered we had a passion for music. After smashing an oral exam, we decided to start a band. We placed ads up all around campus, asking for anyone to join our soul/funk outfit. It was another 6 months before we had found a crew that was committed to our idea of writing and performing originals. Soon, we were being booked for gigs but we didn’t have a band name. Our then saxophonist, Hanna suggested that we name ourselves Fulton Street – the name of the street we rehearsed on every Monday night for about 4 years.
Australian Influences
We’ve been influenced for many years now by the sounds of Daptone Records – Sharon Jones and The Dap-Kings, Charles Bradley, Menahan Street Band, Budos Band, etc. Recently, we’ve discovered the amazing artists coming out of Colemine Records too. Locally, our musical heroes include: The Bamboos, Cookin’ On 3 Burners, The Putbacks and The Meltdown. We’re very lucky to have worked with and even been taught by some of these local legends!
Family
Both sides of my family are claiming I get my voice from them, haha. My whole family loves to sing. We have a couple of guitarists in the family too. Music has always been apart of my life ever since I can remember, but apart from my great-uncle, no one has pursued a career in music – except for me.
Check Yourself!
‘Check Yourself’ was written during the US elections, 2016. At the time, I was seeing and hearing a lot about migrant family separation, and the disturbing impact of displacement and alienation faced by those affected children. Jamie and I wanted to write a song, urging future generations to take complete ownership of their race, skin colour, religious beliefs, etc. We wanted to challenge everyone to let go of their judgments for a better future.
Our Generation
I feel that young people are not often listened to and are often underrepresented. If you think about the current political climate, how many young voices do you see or hear? It’s a shame – I think young people have a lot to offer in terms of fresh new ideas, and helping us move forward in this ever-changing world.
Are you happy with the Album? MPWe’re super happy with the release! We’ve learnt a lot from our first ‘soul baby’ and Ivan Khatchoyan (Cookin’ On 3 Burners, The Traffic) was an amazing mentor and producer throughout the whole process. Our next single has already been tracked, but that won’t be released for a little while yet. We’re still enjoying the ride that ‘Problems & Pain’ is taking us on.
Where do you see yourself in 5 years? MP It’s crazy how fast the last 6 years have gone! I’m hoping that in 5 years time, Fulton Street will still be playing, continuing to develop our sound and stage performance, writing and releasing music, and touring!
What are some of the challenges that you have faced? MP I manage Fulton Street. I book our gigs. I write our songs. I’m also the front lady. I never studied Business, Events or Music. So, there are always new challenges I’m faced with in the running of the band! But it’s all a big learning curve, and I am a huge believer in that you ‘learn by doing.’ The guys are always supportive. Thankfully, we also have a lot of musician friends and mentors who have guided us and given us advice when we’ve needed it! Fulton Street is quite a large group. There can be anywhere between 7 to 12 people involved in our live shows. We all juggle study, work, rehearsal and other gig commitments. But at the end of the day, we all make the band our priority, and I think that’s why we work so well. We’re in a niche little market in terms of the soul/funk scene. There’s not a huge demand for it. But at the end of the day, if we write music with a positive social message and give our 110% onstage, people will take notice.
Are you planning a tour, local or o/seas?MP We’d love to do a regional and interstate tour, so hopefully we can get that happening in the next few months. I think our long-term goal would be to head overseas for recording and touring.
You played Fed Square on New Years, how did that come about and what was the night like? MP Multicultural Arts Victoria contacted us about playing Federation Square for New Years Eve, 2017. The atmosphere on that night was incredible. We’d finish playing a song and the cheers from the audience would just wash over the stage in waves. It is definitely a show and NYE we’ll never forget.
The tale of Aboriginal plunder is a never-ending ballad that sings in the winds of this great country, a land that Elea (Albert) Namatjira painted so lovingly in watercolour. Namatjira’s world-renowned artistic status may have provided him with a thin shield against racism but it was easily shattered, even his greatness, wealth and innocence could not protect him from incarceration.
Namatjira surrounded by family as he painted
The legend begins when Artist , Rex Battarbee took a painting trip into the Outback, after returning from the devastation of War in the 1930’s. He met Namatjira and it was through their collaboration that the 30-year-old Aranda man learnt to paint and exhibit. They went on to become lifetime friends, able to see pass the bigotry of the day.
International success took this humble man to great worldly heights, he was awarded the Coronation Medal and was the toast of the town. His exhibitions sold out shortly after they opened and most kitchens had one of his reproductions on a calendar or tea towel.
Before the 1967 Referendum, Australian Aboriginals where denied Human Constitutional Rights and were categorised as part of the wildlife or wards of the state. They were denied most basic human rights and in an insipid twist of irony could not own their land as it had been acquired by the Commonwealth.
Namatjira’s unprecedented rise on the world stage would require him to have a passport and his growing wealth attracted taxes, thus him and his wife Robina were given Australian citizenship in 1957, enabling him to buy a house in Morris Soak .
Unfortunately his children were not granted citizenship and were regarded as ‘Wards of the State’ as all Aboriginal people were. They did not have the right to choose their marriage partner, be legally responsible for their own children,to change location or socialise with non-aboriginals. It also meant that when the Great Artist and his wife died the Legal Will that aimed to financially protect their children was made void as his children belonged to the state. Their financial copyright royalties were ‘acquired’ by the state and sold on.
The Namatjira Project began as an objective to buy back the royalties (which will expire shortly) but has become a legal investigation.
The most moving part of the film is when Namatjira’s homeless grandson gives his artwork to the Queen in her palace and walks away empty-handed. The documentary is a thoughtful journey, full of beautiful archives and an artistic vision, they tip toe over a mine field but I think they have let off a bomb.
*Due to the humane efforts of The Namatjira Project, the Royalties have been returned.
Another victory in justice for the family
The Namatjira Family continue the water-colour tradition as their cultural inheritance.
A Message from the Family
It is a with a heavy heart that we write to let you know that our dear friend and watercolour artist of true talent, Kumantjai K Namatjira has passed away. On Saturday afternoon 3rd November in Alice Springs Hospital, he bid farewell, surrounded by family. One year after his cousin, Kumantjai L Namatjira, and 5 years after meeting The Queen at Buckingham Palace.
THE NAMATJIRA PROJECT
DIRECTOR & CINEMATOGRAPHER Sera Davies
PRODUCER
Sophia Marinos
EXECUTIVE PRODUCER
Julia Overton
EXECUTIVE PRODUCERS (CULTURAL)
Lenie Namatjira
Gloria Pannka
Art is language and in many countries pictures are a part of dialogue. The inviting interiors of Cue, De Souza, Hughes and Selleck examine the priorities of pretext and invite interactive, participation. The exhibition moves away from traditional painting and allows a multi-media vioce.
Let’s meet the ART
GEORGINA CUE
Living Room, 2016
The Living room, sets an exotic stage for a classical diva in what appears like an ancient setting. The bold artwork seems to have a Cubist influence with an early Century twist. Both powerful and beautiful, the photographic work ,an inkjet on rag-paper, is a central work in the exhibition.
REBECCA SELLECK
Lapin Plague, 2016
This is an engaging installation, on many levels, firstly it invites you into it. It is a homely domestic scene with what appears to be, occupied by small rabbits. On closer examination the (heated) rabbit skins have no heads, therefore they are not alive. ‘Outside of the cage’, it would appear that the rabbits and humans are enjoying a shared space and when you touch the skins they are robust and warm, but they are not.
KEG DE SOUZA
Interior
We built this city
This impressive structure is made from salvaged tents and plaid laundry bags. Within the interior is a communal area with milk crates to sit on and books on the history of the Tent Embassy in Canberra. Coming off the main ‘room’ are an array of small tent rooms. It is the perfect Festival space, providing your guests have house manners, better than a Tipi because there are rooms, however a tad flammable.
The concept of tribe and tent and engaging in the environment as opposed to destroying it, is an old age concept, in Western Culture according to the old testament, the Christian/ Jewish God lived in a tent.
The added beauty whist in the tent is listening to the haunting sound of traditional Fado singers, from the outside film by Jacobus Capon that examines memories of a home gone. The Australian factor is that we came as refugees, yet our memories resonate. Are we adapting or are we all in a state of diaspora.
JACOBUS CAPONE
Forgiving night for day.
Multiple films projected onto the Art Gallery wall are of lone characters watching the dawn above the rooftops of Lisbon, Portugal. Capone examines the state of nostalgia. It is an absorbing work, visually engaging as the sound-scape floods the skies above the sleeping town.
NATALYA HUGHES
All of Your Women and Some of Mine, 2016
An interior space with a strong Mattise influence, using decorative abstract contrasts in colour and pattern, appearing like a digital construct..
TONY ALBERT
Exotica (Mid Century Modern)
Albert’s political comment on the state of our country as an ashtray, is in dire contrast of the pristine land that was taken from its previous owners.
‘Albert has developed a universal language that seeks to rewrite historical mistruths and injustice.’
SARAH CONTOS
The Long Kiss Goodbye
‘The winning work of art is titled Sarah Contos Presents: The Long Kiss Goodbye and brings together personal remnants of Contos’ practice from the last four years’. Contos was awarded $100,000 for this mixed medium collaged ‘quilt’.
On a mild Winter weekend, Melbourne’s Music elite came together to honour the songs of Bob Dylan before a full house at the Memo in St Kilda. Friday night was dedicated to acoustic Bob and on Saturday night, it was electric Bob.
The ‘All-Star’ back up band, consisting of Benny Franz, Stephen Hadley, Ben Wiesner , and Shane O’Mara , melted seamlessly into each other, but it was guitar legend O’Mara that stole the night with his stella performance. It was a group of musicians fit for the honoured legend himself.
Who is Bob Dylan? Songwriter, Poet or Prophet; Jew or Christian? His lyrics resonated with the crowd that held resolute with dignified appreciation of the words and the artists. Loud talkers were quickly hushed.
Come gather ’round people Wherever you roam And admit that the waters Around you have grown And accept it that soon You’ll be drenched to the bone. If your time to you Is worth savin’ Then you better start swimmin’ Or you’ll sink like a stone For the times they are a-changin’. Come writers and critics Who prophesize with your pen And keep your eyes wide The chance won’t come again And don’t speak too soon For the wheel’s still in spin And there’s no tellin’ who That it’s namin’. For the loser now Will be later to win For the times they are a-changin’. Come senators, congressmen Please heed the call Don’t stand in the doorway Don’t block up the hall For he that gets hurt Will be he who has stalled There’s a battle outside And it is ragin’. It’ll soon shake your windows And rattle your walls For the times they are a-changin’. Come mothers and fathers Throughout the land And don’t criticize What you can’t understand Your sons and your daughters Are beyond your command Your old road is Rapidly agin’. Please get out of the new one If you can’t lend your hand For the times they are a-changin’. The line it is drawn The curse it is cast The slow one now Will later be fast As the present now Will later be past The order is Rapidly fadin’. And the first one now Will later be last For the times they are a-changin’.
Each vocalist made his songs their own and each captivated the audience. Liz Stringer was haunting, almost gothic as her lone figure shone in the darkness etching the words and reaching into the void. Song-bird Lisa Miller was mesmerizing and thrust the show forward, her talent is palpable. Chris Wilson’s scratchy soul voice penetrated into the mind of the listener, like a dark cry and ‘Raised by Eagles’ duo Luke and Nick raised the tempo with a bit of rockabilly. All of the vocalists on the night where exceptional.
A memorable evening.
Audience response.
“Shane O’Mara is a Melbourne music legend and of Liz Stringer, you need to get her last two albums.
As the MICF circus wraps up, 2 clowns sent it off with a bang.
The afternoon show at ACMI was the icing on the Festival, after a series of ‘Stand up’ wit and profound observations we discover a new territory. These Guys have nothing to say, it’s what they do that suspends reality and slaps you in the face. Throughout the performance the unexpected continued to surface from beneath the banal.
Confused? Good , that’s a great start.
You will be bewitched within a Dadaists performance of an office mundane that imploded into the wild and creative instinct of lifes little dramas. Bit by bit they shatter through reality to reveal a seething internal existence with comic twists.
Intrigued? I hope so, it is an intriguing experience.
No matter how sober you think you are, they will pick up your solid piece of reality and twist it until you feel entirely happy. Like an animal can become a chair, a thing can become an animal. They are very clever Consultation Specialists.
Welcome to Ruck’s Leather Interiors starring Gareth Grubb (Trygve Wakenshaw) and Dennis Chang (Bernie Duncan) as Performance Artists.
Bernie Duncan
Where did you Guys train? MP
“I didn’t do training but Ttygve went to Gaulier, a French Clown School in Paris.”
How did you get into this? MP
“I always made theatre, we started a Company (Theatre Beating) about 14 years ago, and we made stuff we liked”
Audience Responce
“I never dreamed that I would ever see two people entertain me from the time they started right up until the very end. Everything that happened was totally unexpected , it shocked me, it was so funny and you never knew what was coming and everything that came was brilliant.”
Michael Shafar held his own at the momentous Trades Hall, that scrubbed up nicely, awash in neon for the MICF 2017.
Shafar is an eclectic blend of cultural experiences that have shaped and unshaped him. He is sorta Jewish, sorta Aussie,sorta cool, sorta nerd, sorta serious but definitely funny. His shows are selling out because the word is out, Shafar ‘nailed it’ this year.
Shafar examines his Jew-ish-ness with perplexed wonder. His grandfather was a Holocaust survivor and its more the ‘religousness’ than the faith that is up for review. He has a wealth of material to draw from that keeps the audience in stiches through out the performance. The crowd loved him and there was a reluctance for the show to end
MICHAEL SHAFAR is Jewish-ish at TRADES HALL Mar 30-Apr 23 8.30pm (no Wed & 7.30 on Sun)
TRADES HALL
Whitlam adoration
Workers rights
Entry Stairs to Show
An interview with Michael Shafar
“I used to encounter a lot of anti-Semitism when I was playing football for my Jewish school. I played from the ages of 12-16 and it was interesting and sad to encounter kids making anti-Semitic comments. I’m interested in whether those kids actually understood what they were saying, or if they were just repeating taunts that they had heard from their surroundings.”
How do you feel about your performance this year?
So far I’ve been really happy with the shows. I’ve changed up a lot of the content since I last performed it in Perth and have also changed the overall structure to make the theme about being culturally Jewish a lot stronger. I think it’s definitely working better now.
What type of reaction have you experienced from Jewish-ish?
So far the reactions have been great. A lot of people have messaged me to let me know they enjoyed the show. It’s interesting to me how different people tweet different jokes to me from the show, so it’s nice that there are a lot of different jokes in there that people remember and relate to.
What has been your most profound experience? MP
“The Comedians I met in the US were young, emerging comics who taught me a lot about work ethic. In the US, comedians are often gigging 15 times per week, which is why their development is accelerated. I tried to absorb that work ethic as much as possible so I try to gig as much as possible around Melbourne.”
Do Comedians support each other?
“Whenever there is a controversy about something that a comedian has said or done, comedians tend to help each other through it.”
Is MICF different for you this year?
It’s different because it’s my first solo show, so it’s definitely a lot busier than any other year. I also need to manage my time a bit better than previous years, making sure I still get enough sleep, eat well and exercise (which I have failed to do for the first few nights, so hopefully I get more disciplined!)
Art is language and in many countries pictures are a part of dialogue. The inviting interiors of Cue, De Souza, Hughes and Selleck examine the priorities of pretext and invite interactive, participation. The exhibition moves away from traditional painting and allows a multi-media vioce.
The Long Kiss Goodbye
Where did you Guys train? MP
melbourne press 