tag:blogger.com,1999:blog-43669938818647980172024-03-05T01:43:29.553-08:00an island artreports from the world of paper theatreBernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.comBlogger115125tag:blogger.com,1999:blog-4366993881864798017.post-69218928331544499452019-05-28T06:55:00.000-07:002019-05-28T19:15:13.221-07:00The Tiger who came to Monday Night<div class="separator" style="clear: both; text-align: center;">
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So, Monday night is a bit of a tradition at my parents' place. They put on a delicious meal, and whoever of us offspring is around (there's seven of us, plus our families, plus some really good value cousins and their families) drop in for dinner and birthday celebrations and frequently other commemorations.<br />
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Last night was tiger night, because last week saw the death of Judith Kerr, whose 1968 picture book, <i>The Tiger Who Came to Tea</i>, is magnificent.<br />
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My mother Mary Anne asked me if I'd make a kamishibai story to celebrate the great Kerr, so I dropped around in the morning, we had a chat, I had an idea, went off into my day and in the arvo went and wrote and drew and painted a 4-card story.<br />
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After the main meal, but before sweets, my dad Salvatore read William Blake's poem 'Tyger, tyger' from his old school poetry book, <i>In Fealty to Apollo</i>, then I performed this new kamishibai story, which curled <i>The Tiger Who Came to Tea</i> up into our Monday Night dinner tradition.<br />
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Then mum talked about Judith Kerr and the place that her book has had in our family, then people sang happy birthday because it had been my 51st birthday on Saturday (yes, it was a lovely day, thanks for asking), then we ate a cake that my sister Anna constructed out of two squiggle cakes (the cheap, nasty and very popular cake that I bring every week), iced and garlanded to precisely resemble the cake in the book.<br />
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All in all, a highly successful Monday night.<br />
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But as you may have gathered, they pretty much all are.<br />
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(thanks to Anna for the photos)Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com4tag:blogger.com,1999:blog-4366993881864798017.post-48927091328737835562018-05-20T05:59:00.000-07:002018-05-21T04:31:45.540-07:00Back in the YukataFIFTY ON FUJI<br />
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Hello there, if you are looking for the record of my pilgrimage to Mount Fuji to celebrate my 50th birthday, you’ll find it here-<br />
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<a href="https://katasuburi.tumblr.com/">https://katasuburi.tumblr.com/</a><br />
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See you there.Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-30286633209406927152018-05-11T05:44:00.002-07:002018-05-11T06:00:10.275-07:00Comic books out loud, fer cryin' out loud!<span style="color: #545454; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: black; color: white;">So: on the evening of Saturday the 5th of May (World Cartoonists Day, if you don't mind), there was a performance at the State Library of Victoria called <a href="https://www.slv.vic.gov.au/whats-on/read-me-comic-book-stories-performed-live">'Read to Me: comic book stories performed live'</a>. That t</span><span style="color: white;"><span style="background-color: black;">itle is pretty descriptive: a quill of cartoonists turned up and read their works out loud to an a</span></span><span style="background-color: black; color: white;">udience of about 120 breathless punters.</span></span><br />
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<span style="background-color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Above, Sarah Firth embarks on the reading out of her hilarious autobiographical story, 'Hair Suit'. </span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Here you can see that we were reading the stories in the State Library's 'Experimedia' space. Who's 'we', you say? Well, go to the Read to Me concept originators' site, <a href="http://thesefriends.com/readtome/2018/4/26/read-to-me-at-the-state-library-victoria">here</a>, to see the list of comic book readers on the night, and also to see the staggeringly talented Fionn McCabe's portraits of us all. Also, check out when the next 'Read to Me' event is going to take place. And GO! This is the future of comics performance, after all.</span></span></span><br />
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<span style="background-color: black;"><span style="color: white;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Oh, you didn't know that was a thing? </span></span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: black;"><span style="color: white;">Well, it is.</span></span> <a href="http://thesefriends.com/readtome/">Gabriel Clark and Fionn McCabe say so</a>.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">And here we all are: Bernard Caleo, Andrew Weldon, Chris Gooch, Ele Jenkins, Jo Waite, and the aforesaid Sarah Firth. We are q'ing a's at the end-of-night Q & A. After which, we bundled off to the traditional post-comics event feast location, Gaylords, for pappadams, wine, and laffs.</span></span><br />
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<span style="background-color: black; color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I was pretty darn excited that night, because I read out the public debut of the 'trailer' for <i>The Devil Collects</i>, an graphic novel set in 1880s Melbourne, which shows and tells the decline and fall of the richest city in the world at that time: Marvellous Melbourne. </span></div>
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<span style="background-color: black; color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>The Devil Collects</i> is made by me and historian Alex McDermott. </span></div>
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<span style="background-color: black; color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">And, just in case you were wondering...</span></div>
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<span style="background-color: black; color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Yes, last Saturday night, Melbourne WAS New York.</span></div>
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<span style="background-color: black; color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">*'quill': a collective term for cartoonists</span></div>
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<span style="background-color: black; color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">All photos taken by Jason Leong: thanks, Jason!</span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-4694148473512729182018-05-11T04:57:00.002-07:002018-05-11T05:56:47.531-07:00The Walking Tukul<div class="separator" style="clear: both; text-align: center;">
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<span style="font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Earlier this year, 2018, I was working on a three-page comic strip story for Medecins Sans Frontieres/ Doctors Without Borders, the people who do remarkable work saving lives in under-resourced places in the world. The strip is set in a refugee camp in South Sudan and in the story there's a briefing that takes place, so said the script, 'in an open-air tukul'. Uh, where?</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></h4>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-weight: normal;">A tukul. You know, a tukul:</span><span style="background-color: black;"><span style="color: white;"> </span></span></span></h4>
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<span style="background-color: black; color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"<span style="font-weight: normal;">A cone-shaped mud hut, usually with a thatched roof, found in eastern and northeastern Africa"</span></span></h4>
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<span style="font-weight: normal;"><span style="background-color: black; color: white; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Oh, yes. Of course.</span></span></h4>
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<span style="background-color: black; color: white; font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> So I tinkered about with drawing one, transcribing it from an image I found in my photo file (often referred to as 'the internment'. Perhaps you've heard of it).</span></span></h4>
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<span style="background-color: black; color: white; font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">And, as so often happens with drawings, I found that I had made something into quite another thing. Or, more precisely, you've put a spin on it, created a version that on one day you might think of as an 'interpretation' and on another, as a 'mistake'.</span></span></h4>
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<span style="background-color: black; color: white;"><span style="font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">But when one writes with pictures, it's the former day you most want to wake up on. We're in the discovery</span></span> <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-weight: normal;">business</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-weight: normal;"> here, my friends.</span></span></h4>
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<span style="background-color: black; color: white; font-weight: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">And that tukul is WALKING.</span></span></h4>
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<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-11922223337544350822015-06-06T07:17:00.001-07:002015-06-19T23:25:01.902-07:00My last komban in Tokyo...and I'm recalling the Minamisanriku Polyglot/Aachi Cocchi 'Drawbridge' project:<br />
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Here we are, freshly arrived in Minamisanriku on Sunday 24 May 2015. Behind us is the town's temporary town centre: shops and restaurants in portable units.<br />
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(L to R: Bernard, Izumi-san, Tomoya-san, Dan-san, Stef-san, and Lang-san, who had driven us all the way from Tokyo. Photo by Mikako-san)<br />
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And here we are with our heads in the Octopus-kun, symbol of Minamisanriku. Or maybe mascot. This time you can also see Mikako-san on the left.<br />
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There's us performing the show, a 'mega kamishibai', at the Minamisanriku civic centre on Saturday 30 May, at a barbecue party supported by the Australian Embassy and other partners.<br />
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Here's Tomoya-san, Izumi-san and Mikako-san, the Asahi Cocchi team, playing music for the kids at the Asahi kindergarten to sing along to. This was the fourth kindergarten we visited last week. At each, we presented drawing activities, then some music and song, and finally a presentation of 'Momotaro: tsugi wa', the mega kamishibai.<br />
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One of the great things was seeing the sets of kamishibai cards at the kindergartens (you can see the Asahi kindergarten's kamishibai library over my shoulder). Here, Mikako-san reads/performs a strange little story about Moomins (yes, Moomins) playing soccer with an alien and learning road safety lessons (this story was sponsored by Toyota).<br />
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And here's us being rock stars.<br />
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A great tour, a great experience. I'd love to return to Minamisanriku.<br />
<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-3117980544005569072015-05-31T06:15:00.003-07:002015-05-31T06:25:23.212-07:00Tsugi wa? (What's next?)What's next is that I am back in Japan.<br />
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That's the view from the 8th floor of a hotel room in Ueno, Tokyo, taken last Saturday night the 23rd of May, after an izakaya dinner with my <a href="http://www.polyglot.org.au/">Polyglot</a> colleagues, Stef and Dan.<br />
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The next day we piled into a charcoal-coloured van with our fellow artists, Aachi Cocchi musicians Izumi-san and Tomoya-san, and the director of Aachi Cocchi, Mikako-san. Our tour manager, Lang Craighill, drove us north up the Tohoku Expressway to the town of Minamisanriku.<br />
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Polyglot have visited this town twice before, the first time only months after it was ravaged by the March 2011 tsunami. This time we are working with residents of temporary housing, and then school children at the Iriya Elementary School, to produce a mega kamishibai which we will perform at Minamisanriku kindergartens next week. Aachi Cocchi (it means 'here and there') have been presenting classical music, opera and dance 'cafe concerts' in places affected by the tsunami since 2011 as well. As part of this two week program, called 'Drawbridge: Kids Are The Boss', Tomoya and Izumi have been playing Tchaichovsky, Rachmaninoff, Chopin, Piazzola and Disney for the residents and the students, and then providing live accompaniment for the kamishibai section.<br />
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Here's Stef, Dan and I presenting a kamishibai introducing us, which I produced back in Melbourne. It was designed to introduce us and also to be able to performed to the chorus of 'Give Me a Home Among the Gum Trees'. There's Mikako-san translating for us, Izumi-san playing the piano, and Tomoya-san looking on.<br />
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Here's Dan and I showing the Iriya students the story that the temporary housing residents had given to us in the previous two days: the residents told us the story, and I drew the pictures as they narrated it. Although an elderly lady did need to get up and correct my picture of the peach floating down the river towards the lady washing her clothes. The peach, apparently, didn't have enough of a bum-like curve to it...<br />
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And here's the image I produced back in April so Mikako-san would have a picture to put onto the flyer advertising the cafe concerts for the temporary housing residents. The middle flag is the Minamisanriku flag.</div>
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<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-44138368577355317052014-12-20T22:51:00.002-08:002014-12-20T23:00:45.126-08:00Seeing the Candle for the Trees<br />
Last Friday night, the 19th of December, I was up in Canberra at the remarkable <a href="http://www.nationalarboretum.act.gov.au/">National Arboretum </a>to perform 'Faraday's Candle', a 50-minute one-man show based on natural philosopher (scientist) Michael Faraday's 1848 Christmastime lectures, 'The Chemical History of a Candle'.<br />
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This show was developed for Inspiring Australia, the national strategy for science engagement, and has been presented by CSIRO over the last three years in various venues: churches, cathedrals, conference centres, the theatre at Sovereign Hill, the Canberra science centre Questacon, and now the Arboretum. We've done short seasons and one-offs and last Friday was a one-off. Below: me as Faraday drawing a diagram of a burning candle.<br />
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The team behind the show is: myself as writer/collaborator and actor; Carly Siebentritt (Inspiring Australia) as collaborator and producer, and Chris Krishna-Pillay (CSIRO) as collaborator and director. We had a lovely audience of 100 or so on Friday, including a man who had, years ago, borrowed a copy of Faraday's lectures from the ANU library and read them to his young daughter - and turned up to see our show with the very daughter! And... they liked it - phew!<br />
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Above is some natty lighting by Chris: this is the point in the show where I become Sir Humphrey Davy, Faraday's mentor, the man who "...first described the light of the candle in terms of incandescent particles of solid carbon," as Faraday says in the script. To the left, the eponymous candle. To the right, Lake Burley Griffin.<br />
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"All that remains at the end of this lecture is to express a wish that YOU may be fit to compare to a candle..."<br />
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Faraday's great because his influence on today's world is profound: his discovery of the generation of electricity by magnetic induction changed our relationship to nature irrevocably. But his dedication to education meant that he delivered these candle lectures again and again because they are a profoundly accessible introduction to fundamental ideas about fire, physics, and chemical reactions. And here we are, continuing his tradition.<br />
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The trailer for the show (made by Chris) is on the <a href="http://re-science.org.au/science-event/faradays-candle-2885">Faradays Candle</a> page. Carly took these pictures on Friday night. A tip of the fedora to them both: great people to work with.<br />
<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-17686997923332456032014-04-05T07:21:00.000-07:002014-04-05T07:26:31.717-07:00Inkers and Thinkers at the University of AdelaideYesterday Friday the 4th of April 2014 I was at the J.M Coetzee Centre for Creative Practice at the University of Adelaide for this:<br />
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Which was organised by Aaron Humphrey, Troy Mayes and Amy Maynard, all PhD students in the Discipline of Media. The great image above is by Sydney cartoonist <a href="http://benjuers.tumblr.com/">Ben Juers</a>.<br />
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You can look at the program here: <a href="http://www.inkersandthinkers.com/">http://www.inkersandthinkers.com</a><br />
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The keynote speaker was Bruce Mutard, who gave us the skinny on Australian comics past present and future, with as he said 'some good news and some bad news'. The below post-talk answer to a question from the audience fell I think into the latter category:<br />
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It was great to meet a bunch of new comics academics, including<br />
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and Annick Pellegrin (French digital comics), Aaron Humphrey (educational comics), Brigid Maher (Joe Sacco and the presence of the translator), Jeanne-Marie Viljoen, a philosopher, who looked at 'Waltz with Bashir'<br />
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and Can (pronounced 'John') T Yalcinkaya, a Turkish man living in Sydney who's organising an <a href="https://www.facebook.com/direncizgiroman">anthology book</a> remembering the protesters in Istanbul in June/July 2013, and the violence used against them:<br />
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Also to hear from people I already know, like Bruce, David Blumenstein (the Squishface story), Amy Maynard (twitter and Australian comics), Enrique Del Ray Cabero (the Spanish comics story)<br />
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and Elizabeth MacFarlane, who spoke wonderfully about the process of making comics<br />
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My paper was called 'The Land is Alive: the animist effect in 'Blue' by Pat Grant and 'The Long Weekend in Alice Springs' by Josh Santospirito'. It was quite a difficult thing to write, and in the end more like the beginning of an investigation than the provider of any revelations, but it was great to have the opportunity to work on it and it present it to peers.<br />
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And in the evening, an Adelaide premiere screening of 'Graphic Novels! Melbourne!' so that finally friends Greg Gates, Brendan Boyd and Greg Holfeld, and other interested Adelaideans, could see it on the big screen!<br />
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Great stuff: may there be many more Inkers and Thinkers symposia!<br />
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<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-29427063512441250342013-10-07T07:13:00.001-07:002013-10-07T07:26:40.004-07:00Françoise et Art in Brunswick!<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;">On the weekend just gone, Art Spiegelman presented a new work of images, text and music, <a href="http://www.sydneyoperahouse.com/whatson/graphic13_wordless.aspx">WORDLESS</a>, at the GRAPHIC Festival at the Sydney Opera House.</span></div>
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<span style="font-size: small;">Today, Art Spiegelman and Francoise Mouly visited <a href="http://squishfacestudio.com/">Squishface Studio</a> in Brunswick, and a group of local comic book people were there to welcome them to Melbourne.<span style="font-family: Times New Roman, serif;"> </span></span><style type="text/css">P { margin-bottom: 0.21cm; }</style></div>
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<span style="font-size: small;">Nicki Greenberg and Mandy Ord speak with Francoise.</span><br />
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<span style="font-size: small;">Outside Squishface - Matt Emery, Ben Hutchings, Nicki Greenberg with Coco in arms and Poppy standing, Mandy Ord, Mirranda Burton, Art Spiegelman, Francoise Mouly and Gregory Mackay.</span><br />
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Oh, there's Shaun Tan too!<br />
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Art Spiegelman chatting with Shaun Tan.<br />
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<span style="font-size: small;">We went across the road to Ray and drank coffees and ate cake and talked some m<span style="font-family: Times New Roman, serif;">ore. Francoise Mouly, Penny Hueston, me and Mirranda Burton (photo by Matt Emery) </span></span><br />
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<span style="font-size: small;">Art and Ben Hutchings talk pens.</span><br />
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<span style="font-size: small;">It was remarkable to meet these two legends of comics, and to discuss with them Art's most recent book <a href="http://arts.nationalpost.com/2013/09/27/book-review-co-mix-by-art-spiegelman/">CO-MIX</a> and Francoise's children's comics imprint <a href="http://www.toon-books.com/">TOON BOOKS</a>.</span><br />
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<span style="font-size: small;">Many thanks to Text Publishing's Penny Hueston who lined up today's meeting.</span><br />
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<span style="font-size: small;">Art <a href="http://wheelercentre.com/events/event/art-spiegelman-what-the-happened-to-comics/">speaks</a> at the Melbourne Town Hall on Tuesday 8 October. Francoise <a href="http://wheelercentre.com/events/event/francoise-mouly-covers-uncovered/">speaks</a> at the Wheeler Centre on Wednesday 9 October. Both of them are brilliant.</span>Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-27670946274886678032013-05-28T08:21:00.000-07:002013-05-28T08:32:50.257-07:00Bernard Caleo's Paper Theatre<br />
Last week it was my birthday and I turned 45. Last night I was at the parental home, where my family gathers every Monday night for a meal. Parents, brothers, sister, spouses, children, cousins gathered as usual. And then, unexpectedly, my friends began to arrive. And arrive. And arrive. WHAT was going on?<br />
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Candles were lit, the song was sung, cakes were cut. <br />
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I was delighted.<br />
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And then Part Two began.<br />
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The wonderful Fleur and her bloke Marcus got up (other suggestions: 'Male and Female', 'Marxist and Free Market', 'Mongrel and Flaneur') and Fleur explained that maybe just maybe it stood for 'Fantasist (or Fabulist) and Maker' and suggested that those two titles could be applied to me and that if they could, both roles could probably do with<br />
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a kamishibai box of their very own.<br />
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I was something flabbergasted, alright. Oh boy. I have been borrowing fellow kamishibaya Jackie Kerin's beautiful kamishibox, or K-box, designed and built by Ted Smith, for the last couple of years. This beautiful new one looked very like, very like.<br />
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And not without reason - Fleur had got onto Jackie and placed Ted's plans in the hands of Marcus, who as it turns out is a master wood artist. The timbers in this case are meranti and red gum, making it a darker, redder K-box than the one that Ted made for Jackie.<br />
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Fleur then performed a lovely kamishibai tale about the genesis of her idea to make this box for me - a plan hatched two years ago - and a vision of its use<br />
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Well, as you can well imagine. I was staggered and astonished and absolutely delighted. The box was placed on Leopold, my bike, wheeled in for the occasion, and I managed to blather a few words about <i>sophrosyne</i> and <i>poiesis</i> and the Ancient Greeks before just saying, thanks.<br />
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And again, thanks. To my family, to my friends, to Jackie Kerin, for smuggling the plans across the border, and for the photos in this post, to my wife Susan for her part in all this wonderful skulduggery, and to Fleur and to Marcus, builders of dreams.<br />
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Well. <br />
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It's time to get writing and drawing and performing.<br />
<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com2tag:blogger.com,1999:blog-4366993881864798017.post-66411782708937198472013-05-09T06:17:00.001-07:002013-05-09T06:24:08.317-07:00'Graphic Novels! Melbourne!' in Paris!Back in January 2013, Daniel Hayward and I climbed aboard a big big aeroplane to begin a three-week European tour presenting our documentary feature film, <a href="http://graphicnovelsmelbourne.com/">Graphic Novels! Melbourne!</a> in France, Germany and England. International man of mystery Bruce Woolley accompanied us as far as Dubai, where we bid him a fond farewell, but only for a week (more of him anon). Dan and I flew on to Paris.<br />
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So, it's been 20 years since I've been in Paris, and Dan had never been before, and it was magnifique. Our lovely friend Dominique lent us an empty apartment in the Rue de Reuilly, near the Gare de Lyon, to stay in for the few nights we were there.</div>
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That's me spending some quality time with my good mate Corto Maltese, created by the great Italian cartoonist Hugo Pratt (RIP).</div>
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On our first night we rendezvoused at Notre Dame cathedral with our Sydney friends, academics Adam and Alphia and their son Addison (that's Addison looking around Alphia's hair) and talked and ate and walked and talked.</div>
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The following morning, early (the streets dark and wet, the smell of the morning baguettes wafting deliciously out of the boulangeries) we rendezvoused at Charonne Metro with Melbourne artist friend Lily and her friend writer Maude and went and had coffee and croissants for our petit dejeuner.</div>
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Then returned to our digs, toasted our good luck and went back to bed.</div>
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After a snooze (ah, jet lag, you old fiend!), we visited Lily's exhibition in Belleville, and around the corner dropped into a bookshop and marvelled at the selection of comics, or rather BD (bande dessinees) on display. Like true colonials, however, we were most delighted to find Pat Grant's 'BLUE' in its French edition (published by Ankama) and </div>
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some Mandy Ord in an edition of the anthology 'Turkey Comics' (published by The Hoochie Coochie - the French publisher of Gregory Mackay's 'Francis Bear' books too).</div>
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We spent a great evening with Gilbert Shelton, who took us to a brilliant tea shop/comic shop 'The-Troc', in the rue Jean-Pierre Timbaud, run by his friend Ferid, who took this picture, and by that time, as you can see, things were getting beery...<br />
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NEXT: AngoulemeBernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-53555084561767752542013-01-22T07:04:00.001-08:002013-01-22T07:05:57.878-08:00The Mongrel Lives!At the beginning of last year, 2012, I began a 'monthly comics pamphlet' called MONGREL. I asked people to subscribe to it, and undertook to send them 12 issues in 12 months.<br />
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MONGREL is a comic book which when complete will answer the question which keeps me awake at night: 'Is Australia real?' It stars 'The Uncanny Expats', 'The Creatives', and 'Salvation Jane'.<br />
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And during 2012, copies of the issues went to some interesting places: here's MONGREL 5 on Park Street Boston, with the Massachusetts State House in the background, in which, my friend Narayan Khandekar assures me, the sacred cod is kept.<br />
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Here's issue 5 again, this time in Braidwood New South Wales, at an exhibition called 'Taking The Piss' curated by Julian Davies at The Left Hand Gallery in September 2012. There's some original artwork displayed next to some working drawings, some writing notes, and an envelope containing all the pencil rubbings that I erased off every page of the 8-page issue in getting it ready for printing.<br />
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And yes, to the left there is a selection of work by the wonderful Michael Fikaris, a great Melbourne cartoonist.<br />
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I was interviewed by <a href="http://www.themilkmag.com/">MILK</a> magazine about making comics, and the article featured some artwork from MONGREL 6, showing the stages of a page in progress. The article also featured, as the lead image, a remarkable portrait of me painted by Gina Kalabishis, titled 'Comic Man'<br />
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I was the <a href="http://www.insideadog.com.au/blog/Residence/201209">September blogger in residence</a> at <a href="http://www.insideadog.com.au/">Inside a Dog </a>, the Young Adult literature website, in which I wrote and posted pictures about the process of writing MONGREL 7. Now when I say that I am only now getting around to actually drawing that issue, four months later now in January 2013, you will see the slight discrepancy between that pace and publishing a monthly comic.<br />
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I blame it all on becoming a filmmaker. In 2012, with Daniel Hayward, I made the film 'Graphic Novels! Melbourne!', which examines comic book culture in Melbourne and which you can find out a lot more about <a href="http://graphicnovelsmelbourne.com/">here</a>. We premiered it in November 2012 and next week we are taking the film to the great comic festival in Angouleme, in France. And then on to Berlin, Hamburg and London.<br />
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Exciting, yes, but it plays havoc with the MONGREL production schedule!<br />
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But never fear - I knew you weren't about to - MONGREL will continue to be made throughout 2013, and by the end of the year, the full 12 issue series will be complete. And so, particularly if you're a MONGREL subscriber, don't you worry about a thing. MONGREL issues 7 - 12 are coming.<br />
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Unless I start work on another film...<br />
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<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-87907494282688872742012-09-07T08:13:00.000-07:002012-09-07T08:13:17.872-07:00Back on RRR, and Writers Fest 2012 wrap<div class="separator" style="clear: both; text-align: center;">
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I was back on 'Smart Arts' on 3RRR FM with Richard Watts this Thursday morning just gone, and I spoke about a few comic books which were part of the 'Skinny Arse Comics Launch', itself part of the Melbourne Writers Festival 2012.<br />
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'The Trials of Francis Bear', above, by Gregory Mackay, continues to follow the hapless, sometimes hopeless, inebriate and unemployed stuffed bear. Unlike the previous simply eponymous collection, this new book has more of a narrative arc running through the whole book. Similarly however to the previous book, it is hilarious and beautifully cartooned.<br />
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'All You Bastards Can Go Jump Off A Bridge! by J Marc Schmidt is also very funny and also cleanly and confidently drawn, but it is more varied in its offerings - it is a generous compendium of short stories that J. Marc originally posted to the web. Many of them are experimental, with some of them having an almost improvised sense about them. Here we are watching someone experiment with the medium, stretching it and toying with it - there's great work in this book.</div>
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Both of the above have been published by James Andre's excellent <a href="https://www.milkshadowbooks.com/">Milk Shadow Books</a> - go there and buy multiple copies of both!</div>
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Another Melbourne publisher is Matt Emery who publishes under the name of <a href="http://pikitiapress.blogspot.com.au/">Pikita Press</a>, and he launched </div>
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at Skinny Arse: Peter Foster had his adaptation of the 1874 Australian convict classic published in black and white in 1986 by Greenhouse Press, and it's taken 26 years and a lot of work by Peter on the computer to get it out in colour.</div>
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Also at the Festival I was honoured to be on a panel in the Schools Program, 'Drawn to Stories' with local cartoonist <a href="http://www.oslodavis.com/">Oslo Davis</a></div>
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And London illustrator/cartoonist/pictorial theorist Joanna Walsh, aka <a href="http://www.badaude.typepad.com/">Badaude</a>, whose book 'London Walks' is a remarkable walking guide to many different areas of London.</div>
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Joanna, Oslo and I talked about drawing as a way of discovering, as a way of thinking, as a way of writing. Then I threw a whole lot of stalks of silver beet (which Joanna called 'chard') at the audience, which went down surprisingly well.</div>
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Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com2tag:blogger.com,1999:blog-4366993881864798017.post-1055566388759655882012-06-26T08:43:00.003-07:002012-06-26T08:43:33.419-07:00Licence to Kamishibai!It's one of those things that I never knew I wanted, indeed needed, but when it was issued to me tonight<br />
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something clicked - it is just the thing that I have been waiting for.<br />
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I was out west at Dinjerra Primary School in Braybrook, where Lachlann Carter of <a href="http://pigeonsprojects.org/">Pigeons</a> literary literacy projects has been working with kids from prep to Grade 2 over the past school term. About a month ago I went over and did a couple of kamishibai sessions, including a performance and a workshop, and it must have got them really fired up, because when I got there tonight, there were dozens of black-painted cardboard butai (kamishibai stages), with exquisite pictures within them. Tonight we were celebrating the premiere of films of the children performing their stories. There was a red carpet. There was popcorn. It was really very exciting. Very very exciting And very beautiful.<br />
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Boy I'm glad that I (along with 60 Dinjerrah students) now have that licence. It makes me breathe easier about performing the 'Snail climbs Fuji' story at last week's <a href="http://graphicnovelsmelbourne.com/">Graphic Novels! Melbourne!</a> <a href="http://graphicnovelsmelbourne.com/fundraiser-at-the-westgarth-theatre-hoo-hah/">fundraiser</a>.<br />
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The above picture, taken by Pigeons' Jenna Williams - shows the title of the kamishibai which <i>in toto</i> reads (in English)<br />
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Snail</div>
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Slowly slowly climb</div>
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Mount Fuji</div>
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Sounds great in Japanese though. It's a haiku by the great poet Issa, a.k.a 'Cup of Tea'</div>
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So there was that one, and a couple of weeks before that, I was up at the Woodend library as part of the Woodend Winter Arts Festival and the cartoonist and artist Trace Balla took those shots of me performing there:</div>
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This is from my kamishibai, 'A Box of Stories', set in Tokyo in 1931. It's a kamishibai about kamishibai. Is that going a bit far? Perhaps.</div>
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But blimey. I'm glad I have that licence, now. Really glad. Thank you, Dinjerra and Pigeons!</div>Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com2tag:blogger.com,1999:blog-4366993881864798017.post-64288477228074618822012-06-21T21:15:00.000-07:002012-06-21T21:32:12.284-07:00What's Japanese for MONGREL?<div class="separator" style="clear: both; text-align: center;">
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Above, our Tokyo correspondent, English teacher, and dem fine cartoonist J M Schmidt peruses MONGREL 4 at the station. His comics novels* <a href="http://www.amazon.com/Egg-Story-J-Marc-Schmidt/dp/0943151945">Egg Story</a> (currently being translated into Esperanto!), <a href="http://www.amazon.com/Eating-Steve-A-Love-Story/dp/1593620977">Eating Steve</a> and <a href="http://www.thesixsmiths.com/wordpress/">The Sixsmiths</a> (this last with writer Jason Franks) are all great books, and recommended for your reading eyes.<br />
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Seeing a MONGREL being read in this, the emblematic illustration of the ubiquity of manga culture in Japan ( 'In Japan, people read comics On The Trains! Really!') is highly delightful to me.<br />
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See? No-one's staring at the comics-reading gaijin like he's out of his mind or anything. I have written an introduction to JM's collection of hilarious shorter comics stories, 'All You Bastards Can Go Jump Off a Bridge', which will be published by <a href="https://www.milkshadowbooks.com/blog/">Milk Shadow Books</a> later this year.<br />
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Sugoi. Domo arigato gozaimasu, Schmidt JM!<br />
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*a new and entirely satisfactory way of referring to 'graphic novels', invented (I think) by my friend Anne Radvansky last nightBernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com1tag:blogger.com,1999:blog-4366993881864798017.post-30171155994084137702012-06-03T05:04:00.000-07:002012-06-04T03:08:10.876-07:00The Nun's Priest's Kamishibai<div class="separator" style="clear: both; text-align: center;">
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So, a month ago, on May 6 2012, as part of the Williamstown Literary Festival, a group calling ourselves the 'Canterbury Tales Book Club Project' put on an afternoon of performance, song, dance and talk about Geoffrey Chaucer's great bunch of stories written in Middle English at the end of the 1300s. Above, pre-show, Jackie Kerin (the owner of the kamishibike) and I work out how it's all going to get set up for me to do my bit after the interval. Jackie performed a hilarious 'Pardoner's Tale' in the first half. Jackie also took all of the photos in this blog post - except, of course, this one!<br />
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Above, Catherine Ryan, in a wimple of her own design, gives us the 'Canterbury 101' talk.<br />
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Author Claire Saxby, our Middle English MC.<br />
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Simon Leverton on guitar was the musical director (a lot of bawdiness going down in them thar lyrics it must be said) and behind him? Yes, absolutely. Morris dancers. They got bells that jingle jangle.<br />
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This was the first time I'd ever done the kamishibai box + simultaneous projection, and apparently it worked pretty well. I must say I'd like to see it myself, to be sure. For my part I had adapted 'The Nun's Priest's Tale', which I studied way back in the Middle Ages of 1984, taught by my beloved HSC English Literature teacher, Marisa Spiller.<br />
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Above, my first image of the tale, depicting the 'narwe cottage' in which lives the widow who owns the rooster<br />
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called ('cleped') Chaunticleer. 'He was a real cock', as I say in my translation. And of course if there's chickens then there's gotta be a<br />
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fox. Let me hasten to add, it all works out okay, but there's some tense moments along the way, ohhh yes. <br />
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It's good to have another story in my kamishibai repertoire, and I'm thinking that I will deliver the 'G' rated version of the tale this Saturday 9 June up at Woodend library where I am giving a kamishibai storytelling session as part of the Woodend Winter Arts Festival.<br />
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After me came Daniel O'Connell, with a filthy, funny version of the Miller's Tale. Brilliant.<br />
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Highlights of the afternoon for me were certainly the other performances, and also seeing Robin Grove, a remarkable English Literature lecturer (more like 'inspirer') from my university days, and meeting Ted Smith, the builder of the beautiful kamishibai box that I borrow off Jackie whenever I need to tell 'paper theatre' stories.Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-5436465347563910942012-04-16T21:54:00.002-07:002012-04-16T21:55:43.132-07:00Canines love MONGREL<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKkpJez10P4dKb6dky1Ijj6_PAKRbHRSiE25ope_pmWNT0RT6jQccPEhWUY1qa_4OEN1p8rmMgC4wywI_iD_7hkU76RmAcTCS49wuQVgotN9r4N1Fr6vtzude_7Vo7Md7fvdu5Ig7G9-7/s1600/simon+barnard%27s+dog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKkpJez10P4dKb6dky1Ijj6_PAKRbHRSiE25ope_pmWNT0RT6jQccPEhWUY1qa_4OEN1p8rmMgC4wywI_iD_7hkU76RmAcTCS49wuQVgotN9r4N1Fr6vtzude_7Vo7Md7fvdu5Ig7G9-7/s1600/simon+barnard%27s+dog.jpg" /></a></div>
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Simon Barnard's dog, Tuco, was one year old yesterday and given his new-found maturity, ponders the intertextual referencing going on in the latest MONGREL.<br />
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IS Jane a prosolar mechanic? Well IS she?Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-7735777073247158892012-04-15T07:39:00.001-07:002012-04-15T07:50:03.543-07:00More MONGREL<div class="separator" style="clear: both; text-align: center;">
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The February number of MONGREL was adorned with a potplant going up from 3 to 2D.<br />
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The March cover, featuring a truncated container.<br />
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Local subscribers should be receiving their MONGREL 3s today or so, and international subscribers next week. Many grateful thanks to Susan Bamford Caleo for helping out with the last two mailouts.<br />
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It is tremendously satisfying making these comics pamphlets, and it's been great working at them in various places - at home in Northcote and Phillip Island, at <a href="http://patgrantart.com/">Pat Grant</a>'s in Austinmer (near Wollongong) and researching number 3's locations in Adelaide while I was there in March performing the show <a href="http://riaus.org.au/events/faradays-candle/">Faraday's Candle</a>. I also did a little bit of work on number three up at <a href="http://chugnutcomics.blogspot.com.au/">Chugnut</a> a couple of weeks ago. What all this means is that for me, each of those pages has a certain association with people and spaces<br />
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I am currently working on number 4. The last five pages are pencilled, and with the arrival of a bunch of reference photographs of the mean streets of Soho (thank you Luke Caleo), the pencilling of the first three pages can begin. Every number thus far has become print-ready via the magic hands of Justin Caleo, to whom also thanks.<br />
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Below, an earth-bound Port Adelaide tug that didn't make it into the comic, but I include it here as a gift for the dedicatee in number three:<br />
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<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-77222049751406687732012-02-10T05:13:00.000-08:002012-02-10T05:15:29.816-08:00What a MONGREL!<div class="separator" style="clear: both; text-align: center;">
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Yes, MONGREL 1, the first number of a twelve issue series of comics pamphlets that I mean to write, draw and publish this year, is now out in the public domain. It's in some shops (to date: Minotaur, All Star Comics and Sticky, all in the city), but mostly? It's in the mail.</div>
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The whole idea with MONGREL is that it be mainly a subscription-based comics reading experience - I'd really prefer you to get it in the mail. To that end, and to begin with, I have tried a crowd funding model with the pozible mob, which is <a href="http://www.pozible.com/index.php/archive/index/4742">here</a> and which is active until 23 February 2012. I'm trying with this to raise a base amount of money which I need to cover print and postage costs for all 12 issues. If you're reading this after the 23rd of February and are keen to subscribe, go to the <a href="http://www.cardigancomics.com/index.php/mongrel.html">MONGREL</a> page of the Cardigan Comics website, which incidentally does have some information about the stories in the book, too.<br />
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So, monthly huh? Yes, monthly*. That's the other idea. And yes, it does mean that work has more than begun on number 2, and I thought I'd leave you with the roughs for the first page, though I have pencilled and lettered (but not inked) that page in the interim. I'm putting this up as a sort of confession - I'd envisioned it as a fairly sparse page text-wise, but when I got to really work on it, ahh, those words, they just took OFF -- people who have collaborated with me before (Tolley, John Murphy, I'm looking at you) know Bernard the Prolix only too well...<br />
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You may not be able to read this, but it's even titled 'Cath's opening monologue'.<br />
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So, then, MONGREL: it's verbal, it's theatrical, it's comical.<br />
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And I better get back to the old drawing board. See you soon. <br />
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And hey - subscribe!<br />
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*Kevin Patrick, the knower of things Australian and historical and comicsy, thinks it may be the first Australian monthly comic in 40 years! Let me know if you know different...Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-18313090725742915432012-01-25T05:35:00.000-08:002012-01-25T05:44:10.207-08:00The last Comic Spot radio show! The first Homecooked Comics Festival!<br />
No no no, say it ain't so!<br />
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But it is so - The Comic Spot, the fortnightly Australian comics hour on radio station 3CR, is coming to an end! John Retallick: the mover, the shaker, the anchor, the rock, the organiser and motive force behind the show, is moving to Hobart (lucky Hobart!). As John says on the <a href="http://thecomicspot.blogspot.com/">blog</a>, The Comic Spot may well take on another form in the future, but this is the end of Volume One.<br />
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BUT in an amazing coincidence, the last show will be the first one we record in front of an audience! Yes, this Saturday, 28 January 2012 is The Homecooked Comics Festival to be held at (of course) Batman Park in Northcote, at the corner of Separations Street and Saint Georges Road.<br />
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The festival, presented by the City of Darebin, features a great line-up of events from 3 - 7pm, and the final Comic Spot 3CR show with your hosts John, Jo and Bernard will be recorded there and go to air next Thursday 2 February at 5pm on 3CR, 855 on your AM dial. The shows get podcast as well, so go to the <a href="http://thecomicspot.blogspot.com/">blog</a> to find an interview with the Australian comics creator of your dreams.<br />
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And come along to the Homecooked Comics Festival this Saturday and help us celebrate the great years of the Comic Spot radio show, to meet comics makers, hear comics music, see kamishibai, and make your own comics: it's going to be a grand day!<br />
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Homecooked Comic Festival Program<br />
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<span lang="EN-GB"><span style="font-family: Arial;">3pm: Welcome by Darebin City Council’s Mayor, </span><span style="font-family: Arial;">Cr Steven Tsitas.</span></span></div>
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<span style="font-family: Arial;">3.10–4pm: The ComicSpot Podcast.</span></div>
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<span style="font-family: Arial;">4.10–4.50pm: Comic/Musical Mashup.</span></div>
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<span style="font-family: Arial;">5-5.30pm: <span class="288502223-17012012">Live music by </span>Squid Squad.</span></div>
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<span style="font-family: Arial;">5.30–6pm: The Allen & Unwin Quiz Show.</span></div>
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<span style="font-family: Arial;">6.30-7pm: <span class="288502223-17012012">Live music by </span>Animaux.</span></div>
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<span style="font-family: Arial;">3-5pm: Kamishibai (Japanese paper drama).</span></div>
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<span style="font-family: Arial;">4.30pm: Express Media Workshop.</span></div>
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<span style="font-family: Arial;">5.30pm: Sticky Institute Talk.</span></div>
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<span class="288502223-17012012"><span style="font-family: Arial;">6pm: The greatest comic book parade!</span></span><br />
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<span style="font-family: Arial;">All day entertainment- Newspaper in a day, tattooing, face painting, giant panel painting.</span></div>
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<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com1tag:blogger.com,1999:blog-4366993881864798017.post-10066568272691312842011-11-20T05:21:00.001-08:002011-12-05T06:09:06.535-08:00Last day 'At the Frontier' Friday 18 November 2011<div class="separator" style="clear: both; text-align: center;">
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My last morning at Room 418 at the Goodearth Hotel - I got up early (for me), cast a sad backwards glance at my light-flooded room, then jumped on Brian the bike. I cycled quite a ways towards Peppermint Grove - I got past Matilda Bay and the University of Western Australia and up a hill and looked back towards town<br />
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and realised, with a catch in my throat, that I wasn't going to be able to make my destination. Not if I wanted to hear this guy<br />
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speak. And I did. I really really did. So I turned tail and rode back east along the north bank of the Swan and got to the Heath Ledger Theatre just in time to hear Ross Gibson in excellent form, speaking on 'Systems of Feeling':<br />
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How indeed. Art, according to Ross, taking his cue from other root words like 'articulation' and 'arthritis', is a joint, a place where a 'turn' occurs, a point at which some move on the part of the recipient/participant can take place, taking them from their received self to... something, somewhere, someone else. Perhaps museums can be organised, designed, articulated so that these halts can occur, these transformations can be given space.<br />
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He then used a bunch of lines from 'All Day Permanent Red' (2003, Faber and Faber) by the poet Christopher Logue, I think these lines:<br />
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Drop into it.<br />
Noise so clamourous it sucks.<br />
You rush your pressed-flower hackles out<br />
To the perimeter.<br />
And here it comes:<br />
The unpremeditated joy as you<br />
- The Uzi shuddering warm against your hip<br />
Happy in danger in a dangerous place<br />
Yourself another self you found at Troy -<br />
Squeeze nickel through that rush of Greekoid scum!<br />
Oh wonderful, most wonderful and then again more wonderful<br />
a bond no word or lack of words can break,<br />
Love above love!<br />
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(Which made me very happy, this book and Logue's 'War Music' being 2004 birthday presents from Mark Scillio and Bruce Woolley, back when we were reading The Iliad together)<br />
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The Logue shows the transformative experience - 'yourself another self you found at Troy' - and eloquently expresses its in-the-moment invulnerability to articulation - 'a bond no word or lack of words can break'. Ross' question was, when the visitor/participant/audience returns from the sublime, 'What happens when the thinking starts again?'<br />
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What can be done for the turn from the aesthetic to the semantic? How can it be supported, braced, held?<br />
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He gave us a lot more did Ross Gibson, and he left us with an image of Pablo Fernandes de Queiros, a Portuguese navigator who in 1606 went into a forest on a Pacific island and emerged transformed.<br />
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"What happened in that forest?"<br />
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Also speaking on this last morning was Masaaki Morishita, author of 'The Empty Museum', speaking about the beginning of the cultural rescue operation that has been happening in Japan after the earthquake and tsunami of March of this year.<br />
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His talk was called 'Rescuing 'cultural properties, etcetera' after the tsumani in north-eastern Japan'.<br />
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I initially thought that the 'etcetera' was a bit unwieldy in that title but as Masaaki-san said:<br />
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In response to a question about the digitisation (that is, photographs and information about objects being recorded on-line) of the collections being rescued, his response was:<br />
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Another question was, 'how can we help?' and he seemed taken aback by that offer. My hand is up.<br />
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I needed to miss the mid-morning sessions, for the arrival in Perth of three very good reasons:<br />
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One<br />
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Two<br />
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And of course<br />
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So off we went to <a href="http://www.pica.org.au/view/Alternating+Currents+-+Japanese+Art+After+March+2011/1278/">Alternating Currents</a> at PICA, where the lads really enjoyed Taro Izumi's giant messy game. Then they went off to find the first accommodation for our shared holiday, and I returned to the last afternoon of the conference.<br />
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In the last session, Frank Howarth mused on the possibility of<br />
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that is, a global one, with ICOM (the International Council of Museums) being one contender, and the AAM (the American Association of Museums) being the other.<br />
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And the last paper of the conference was very sobering - an account by Professor Peter Read of differing approaches taken in Chile to represent the years of terror under the Pinochet regime. The question being, how do representations help or hinder the process of reconciliation? He particularly looked at a location, 'Londres 38', where horrific torture and murder had taken place, and, post-Pinochet, the difference between the individual and state representations of what had occurred there.<br />
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He called for us to consider these complexities when faced with remembering and representing trauma in our local spaces, and reminded us of the message of the voiceless:<br />
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"Do not forget me."</div>
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This statement was relayed in this conference particularly strongly by Lily Hibberd (her focus is on prisoners and prisons), Andrea Witcomb, Maasaki Morishita, and Peter Read. I salute them all.</div>
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Conference over, I sauntered off into the strong West Australian sun for the next adventure.</div>
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But that's another story.</div>Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-34286472958263505472011-11-17T05:27:00.001-08:002011-12-05T04:32:47.960-08:00Remaining 'At the Frontier' - day 3 Thursday<div class="separator" style="clear: both; text-align: left;">
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So. Funny thing. This evening, after the conference session featuring John Ford (he makes light: see below), I cycled back here to the Goodearth hotel, phoned my favourite people in the world, then sauntered back outside and caught the (free!) Red Cat bus into the centre of town. Carelessly, almost whistling, did I scoot a left off Beaufort, see this</div>
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(Nice, eh?) and then with a spring in my step, sashay up to the Western Australian Museum to enter the conference dinner being held there. The pace is abuzz. The girl on the door says, where's your green ticket? Oh, I say, I don't got a green ticket. Step inside, she says, and get your green ticket from my colleague inside (she doesn't really say 'colleague', I have just forgotten the name she did say. Shame does that.) Colleague inside checks my rego and says, well no actually, you were registered for the opening drinks, but not for the dinner. Ah. Great Yap-sized stone penny drops. Ah, that's right. I hadn't registered for the dinner, just for the opening drinks, but by a sort of event dyslexia (tastes like Fruity Lexia) I'd hypnotised myself into believing I'd booked for the dinner as well. And no wonder.<br />
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They were having a ball in there.<br />
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My subconscious jealousy took on physical form, but just for a moment, and became again a meek mouse just before biting this gentleman's happy drinking head off. So just as well.<br />
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So off I toddled. Popped into 'Poppo Korean and Japanese', had a Sapporo and some quite nice tempura. And I gotta say, it's been pretty nice back here.<br />
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BUT. What happened today, Bernard, at the actual conference?<br />
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Ah well - the Plenary session (ah, I just looked that up - it means that everyone is there, versus the other sessions where you make a choice and see one session of a bunch that are running concurrently - but not in Cloncurry) featured Andrea Witcomb talking first, about the difficulty of 1) 'dark tourism' - sites of horror, depravity and terror (ie prisons, Holocaust memorials) and 2) the problems about roleplay at such sites, which aims for identification and empathy on the part of the audience but often<br />
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She spoke of the necessity of making sure that if the audience has the opportunity to FEEL, then that they also have the chance to THINK. That aesthetics and information in tandem can produce disquiet, and in that case, our institutions allow the possibility of transformation. Transformation. Blimey, Andrea, that's what art does.<br />
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Oh.<br />
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Susan Cross then gave a rousing mid-game talk to us assembled storytellers:<br />
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And then we heard from Denis Byrne<br />
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who is an archaeologist from the Office of Environment and Heritage in New South Wales. He had amazing things to say about Bali ('our Spain') and the dehistoricising that we practice when we go there for a holiday on 'paradise island', particularly the invisibility of Suharto's military coup which killed half a million people in anti-communist purges in Indonesia in 1965 and 1966. <br />
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He also spoke of the mythologising <a href="ttp://bernardcaleo.tumblr.com/post/12925204725/walter-spies-1895-1942-from-a-study-of">Walter Spies</a> and of his own mapping of Aboriginal alternative cartographies across colonised spaces in southern coastal New South Wales. Amazing stuff.<br />
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Around lunchtime I snuck off to the Art Gallery of Western Australia to use my free ticket to see <a href="http://www.princelytreasures.artgallery.wa.gov.au/default.htm">Princely Treasures: European Masterpieces 1600- 1800 from the Victoria and Albert Museum</a>, which was great and really put me in mind of 'Yiwarra Kuju (One Road)', the Canning Stock Route Aboriginal art exhibition of yesterday, Similarly, as a visitor, you were piecing together people and art and families and dynasties, arranging the information and the art and the stories into a big picture of time and place, which, it just occurs to me know, is probably distance-wise the same sort of size in both exhibitions.<br />
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While I was there I thought I'd check out their sequential art, so I was tossed about by Sidney Nolan's epic comic strip <a href="http://landscapes.indigenousknowledge.org/exhibit-5/3">Desert Storm</a> and amused by David Hockney's 1960s retelling of Hogarth's <a href="http://www.hockneypictures.com/graphics_rakes_progress/graphics_rakes_01.php">A Rake's Progress</a>. I said hello to some old friends, William Blake's 'Book of Job' etchings and some ukiyo-e prints from the school of Aktagawa.<br />
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Back at the conference, I found out about an amazing web resource which is listing ALL theatre productions done in Australia. Yes, that's right. What an amazing resource, yes? Yes. It's AusStage and it's <a href="http://www.ausstage.edu.au/default.jsp?xcid=27">here</a>. Have a look for that amdram (got that term from John Holden on Tuesday) show you did in the 80s.<br />
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Finally, as promised, I saw a session in which my old bud John Ford<br />
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who looks nothing like this, spoke about using daylight to illuminate museum and galleries. Once upon a time it was the main light source of course, and it went out of fashion for a century or so but now it's back. Brilliantly, John designed the lighting for the building in which the conference is being held, and these days he works for the great lighting company <a href="http://www.bb3.net.au/">bluebottle</a>.<br />
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And as you know, then I cycled off though the rain to get ready not to go to the conference dinner. I wonder how it's all going over there. <br />
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Well, this means that I can go to bed now and hopefully I can get up early enough tomorrow morning for something of a pilgrimmage. If <a href="http://www.youtube.com/watch?v=gG2DT6nKwDk">this</a> means something to you, then you might know where I'm off to.<br />
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Ah, the sweetest honey's here. Almost.<br />
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<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-41016134276649971512011-11-16T07:25:00.001-08:002011-11-16T08:39:03.922-08:00Still 'At the Frontier' - day 2 Wednesday<div class="separator" style="clear: both; text-align: center;">
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One of the amazing things about the city of block of Perth on which the conference is being held is that, looked at a certain way, EVERYTHING is on it: bordered by Roe, Williams, Francis and Beaufort streets, it contains the State Theatre Centre (where the conference sessions are), AND the Art Gallery of Western Australia AND the Western Australian Museum AND the Perth Institute of Contemporary Art (PICA, which I visited yesterday) AND the State Library of Western Australia and something called Arts House too, probably just for good measure.<br />
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Above, my afternoon coffee godzillas the Western Australian Museum, which is run by the bloke who spoke first today, Alec Coles. He has been the CEO at WAM for about 18 months, and spoke this morning<br />
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about a regional program for the many museums operating in WA, particularly from the viewpoint of his years of experience with a regional approach to museums in the north-east of England. In his talk he was really showing us the many models from which Western Australia might choose to develop the relationships between its museums, particularly those of differing sizes. In this way it echoed John Holden's talk of yesterday, but with the engagement in this case being between museums, rather than museums-to-visitors.<br />
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Next up was Margaret Anderson, from the History Trust of South Australia, who spoke brilliantly about their work in raising the profile of history in South Australia, and their grand gamble in creating a 'History Week' program in the mid 1990s, which took off to such an extent that this year they needed to expand it to a history month (!) whose name you can find above. She also spoke about an amazing web history project called <a href="http://boundforsouthaustralia.net.au/">Bound for South Australia</a>, which is a blog from 1836. True. Have a look.<br />
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I then attended a session about travelling exhibitions, featuring presentations by Catherine Czerw<br />
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Jane King, from the Museums Australia WA branch,(but not for very much longer) who delivered the best line I have heard thus far:<br />
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And Catherine Belcher from the <a href="http://www.museum.wa.gov.au/museums/geraldton/#geraldton/getting-here">Geraldton</a> location of the Western Australia Museum whose great-sounding exhibition about mining in the mid-west is going to close on Sunday - I'm going to miss it! Gnn!<br />
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All of this talk about shows on the road and remote locations made my feet itchy, so I went over and crunched again on Fujimoto Yuri's 'Broom' at PICA<br />
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And checked out the very beautiful 'Perth Cultural Centre Play Space' which is outside the museum, featuring sittable-onnable sculpture and outside musical instruments (David Perkins, these shots are for you...)<br />
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And then I cycled Brian down to the Perth Convention and Exhibition Centre (actually he and I got lost, and then trapped, in the bus car park underneath it for awhile, but we needn't dwell on that) to go and see<br />
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A really quite incredible exhibition which opened in Canberra at the National Museum of Australia earlier in the year, and now it's over here which is its home, because the Canning Stock Route is in WA and so is <a href="http://www.form.net.au/">FORM</a>. These guys - and it turned out that I knew two of them, and how great to meet Carly Davenport and Monique La Fontaine again - have put six years into the <a href="http://www.form.net.au/aboriginal-development/canning-stock-route-project">Canning Stock Route project</a>, out of which this major and massive exhibition has developed. It features paintings from Aboriginal artists from the many language groups along the Route and their stories and songs and films and objects. It's pretty immersive and amazing and the Canning Stock Route works brilliantly as a central braid that ties together so many stories. Next it's going to Sydney to the Australian Museum 17 December 2011 - 22 April 2012, so all my easterly friends, plan your trip to Sydney. But really, you should see it here. You have until November 27. And over here, it's free.<br />
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I reckon this exhibition will come to mind each morning that I cycle into Melbourne Museum along the Canning (Street) Bike Route.<br />
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<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-2163558280862411512011-11-15T07:39:00.001-08:002011-11-15T08:46:26.277-08:00'At the Frontier' day 1 - Tuesday 15 November 2011<div class="separator" style="clear: both; text-align: center;">
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So today was the first day of the Museums Australia/ Interpretation Australia joint conference, 'At the Frontier' - all 500 or so of us delegates set off to sea together in the very new Heath Ledger Theatre in the State Theatre Centre (opened in January of this year).<br />
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The conference was introduced, we were welcomed to country, the Western Australian Minister for Culture and the Arts declared the conference open, and then we heard from this guy, John Holden, about 'Next Generation Cultures' - it's anarchy, folks, in the UK!<br />
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Yes, apparently everyone is. And museums need less to deliver to their audiences than to find their relationship to their audiences. In fact 'audience' might not be the right word any more, What about 'participants'? This next generation want to: 1) enjoy 2) talk and 3) do, according to John's friend Charlie Leadbeater. So there's that.<br />
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Morning tea time! Let's head down the stairs running parallel to Roe Street, shall we? Yes, lets! <br />
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Later in the day I attended a panel called 'Ancient', which was brilliant. Kevin Thiele, the head of the WA Herbarium, hails from 'the east' and is always putting his foot in it with his Perth colleagues with statements like<br />
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But he was a great speaker about the challenges faced by herbaria in terms of becoming more open to their audiences/participants.<br />
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And Ken Mulvaney<br />
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spoke passionately and brilliantly about the rock art petroglyphs on the islands of the Dampier Archipelago - he estimates that there are probably about one million pieces, which would make the archipelago the richest area of such art in the world. And he eloquently painted a picture of the destruction of such art that happens when we allow development to occur pell-mell.<br />
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In the next session, I delivered a petcha kutcha presentation (20 slides, each shown for 20 seconds) about our theatre work at Melbourne Museum over the last 10 years and rather think I stuffed too much in. Ah well. Also in that session was the wonderful Lily Hibberd, though, talking about her research and writing and artwork interrogating the use of solitary confinement and the persistence of the 'model prison' system in the treatment of prisoners, refugees and mentally ill people for 150 years. It was chilling stuff, Jeremy Bentham's rotting head being used for a football notwithstanding.<br />
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At the end of the day I went to PICA to hear the curators of the exhibition 'Alternating Currents: Japanese art after March 2011' talk about the works on show. Above, someone 'plays' Fujimoto Yukio's giant record made of charcoal - you walk on it and it crunches. Great. Curator Hashimoto Azusa commented that Fujimoto-san has said that 'listening is a very creative act'. I tend to agree.<br />
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Looking down from the first floor onto Izumi Taro's massive sugoroku board installation - it was described as a game without beginning or end. We ended our tour at the 'Yellow Cake Street' cafe, devised by Nadegata Instant Party, which was the PICA bar remade as a...<br />
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cafe place to buy yellow cake (delicious) and beer. I drank and ate and then cycled Brian back home, only realising that I'd overlooked dinner after a phone call to Susan - it's time for a late night visit to the 2 minute noodle shop, folks! Ahh. That's better.<br />
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Ready for bed and a sleep and a dream and then day #2.Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0tag:blogger.com,1999:blog-4366993881864798017.post-36175700880332607742011-11-14T06:37:00.001-08:002011-11-14T07:33:33.207-08:00New Norcia and talking papers<div class="separator" style="clear: both; text-align: center;">
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<i>Artist unknown, early 18th century, head of Saint Benedict. Wood.</i></div>
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<i>Part of the exhibition, 'The Saints: Ancient + New' at the New Norcia Museum and Art Gallery </i></div>
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Today was my first day of conference-related activities<i> - </i>at 9am outside the brand spanking new State Theatre Centre I jumped into a bus, and Martin Moyle drove a bunch of us museum types (hi Edwina and Craig in the picture above) 130 kilometres north of Perth to a place he described as "a most surprising village out in the middle of the wheat belt".</div>
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And by gum but he was right.</div>
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We were most privileged to be met by Carmel, the CEO of <a href="http://www.newnorcia.wa.edu.au/">New Norcia</a>, Margie from the New Norcia Museum, and Dom Christopher Power, one of the monks in residence.</div>
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Here he is, telling us the story of the way pictorial representations of New Norcia proved a vital means for one of founders, Dom Rosendo Salvado to convince people back in Europe to donate to the monastery town. And throughout his never less than charming, informative and funny narrative, Dom Chris kept reminding us that financial survival remains a constant challenge for the community.</div>
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He introduced us to New Norcia's full-time archivist, Peter. Dom Chris explained that the archive was anything but a place for 'old moths', that indeed it was a 'glamour department' of the town. Peter explained that he has plenty to work with because<br />
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Sound like my kinda guys. We saw remarkably painted and appointed chapels, we saw an exhibition detailing the interactions of the monks with the local Aboriginal people, the Yuat (Moorara-Moorara) people, whose language Dom Bernard Rooney has compiled a dictionary for, we saw the olive press shed and the olive orchard, the restored blacksmithy, we ate lunch at the New Norcia Hotel (good ale!) and we scooted through the museum because we ran out of time.</div>
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And now I sip (swig, you mean!) at a VERY good New Norcia Abbey Vintage Port 2004 - thick and sweet and fruity - and reflect on some words from Dom Rosendo Salvado, really the main founder of the monastery in 1846 (recall that Perth itself was founded in 1829):<br />
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"This is an appropriate place to mention the kind of veneration which the natives have for books or any papers with writing - 'talking papers' as they call them. They credit them with an almost magic power of revealing hidden things..."<br />
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The title of a plan drawing of the layout of the town - Norcia was the original birthplace of Saint Benedict, so here, two hours drive from Perth, would be the new one.<br />
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Back in Perth, it was time for the conference opening/welcome drinks at the Perth Town Hall, and boy, were they welcome! Brian the bike and I swerved back down Adelaide Terrace to my hotel (the Goodearth - thanks Pearl S. Buck) to have a cuppa and prepare for the 'petcha kutcha' (Japanese for 'chit chat') presentation which I'm giving tomorrow afternoon and which is entitled, 'But is it Real?'<br />
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Well?<br />
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Is it?<br />
<br />Bernard Caleohttp://www.blogger.com/profile/15135259485261757108noreply@blogger.com0