We discussed haiku and senryu, then they undertook an exercise making cut-up poems using my book Earthwords.
Showing posts with label portfolio. Show all posts
Showing posts with label portfolio. Show all posts
Haiku workshop
Wandering in wonder
Recently Naviar Records called for contributions to appear in an exhibition in Japan
Marco wrote that his inspiration came from the Ainu, Japan's indigenous people, in his email to the Naviar community:
I've been working on this installation for a week now, studying and collecting sounds from my local environment, learning and understanding more about where my culture comes from. To someone who's been in contact with indigenous cultures all their life, this might seem like a childish game; however, for me, it's been an enlightening experience.
It brought to mind a project that I started to write songs reflecting my own heritage, which began around the time of Anzac Day and was inspired by the idea of that event being Australia's version of an ancestor celebration.
My contribution is a draft of one of those songs, drawing on the history of the Wanderer butterfly in Australia.
The lyrics are:
From foreign skies it came,
A fire-bright drift in golden flame—
On cyclonic winds, torn and tossed,
Somehow carried life across,
After this flight over the seas.
A stranger turned sovereign by the breeze,
In the year 1871,
Met the blush of Antipodean sun.
On winds of fate, it crossed the sea,
A monarch's flight to lands so free.
From foreign shores to Sydney's light,
The Wanderer took its maiden flight.
Milkweed bloomed—a bitter crown,
Bred the brood in orange gown.
Wings like stained glass kissed by fire,
A tale of travel, cocooned desire.
Not born of bush or Dreamtime's lore,
Arrived at a eucalyptus shore.
An exile once, now a monarch of air,
This Wanderer dances on blooms with care.
The rationale for this symbol is:
In my backyard is a mint plant that I hoped might grow to replace my lawn. Many butterflies land on the flowers when it blooms.And the bio I've provided is something I'm going to add here (mostly for future reference, sorry for appearing kinda bigheaded but it's my blog hey!):
I started researching their varieties as I began photographing them and became interested in the Wanderer, which is the Australian version of the Monarch in the Americas. It has distinctive white spots on a black body and magnificent wings coloured like autumnal leaves.
This type of butterfly arrived in Australia around the time my father's great-grandparents migrated here. It is thought it may have been blown here by a cyclone, but found the imported milkweed plant that supports Monarch caterpillars and was able to survive.
My parents were both born in North America, so I've come to adopt the Wanderer as a symbol for my cultural identity.
I've performed the song using a ukulele, as it is an instrument from the Pacific – the ocean that unites Australia, Japan and the USA.
With a focus on the Riverina landscape, Jason’s interdisciplinary art spans text, digital media, and community-driven initiatives, including his work with Naviar Records' Crossing Streams exhibition and Red Earth Ecology. As a writer and musician under the pseudonym Bassling, he has contributed to online music magazine Cyclic Defrost, won the Murrumbidgee Short Story competition, and collaborated internationally on projects like the Shinobi Cuts Remix Chain.
And in Japanese:
ジェイソン・リチャードソン（オーストラリア）
ジェイソン・リチャードソンは、オーストラリア・リヴェライナ地方の風景を軸に、言葉とデジタル表現、そして地域コミュニティとともに行う創作活動を横断的に展開しているアーティストである。
Naviar Records の「Crossing Streams」展や Red Earth Ecology などのプロジェクトを通じて、自然と文化、個人と土地との関係を探求してきた。
ジェイソンの自宅の庭には、芝生の代わりにと植えたミントが茂り、その花に蝶が集まるようになった。
それらの蝶を撮影するうちに、特に「ワンダラー」と呼ばれる蝶に惹かれるようになる。これは、アメリカ大陸に生息する「モナーク（オオカバマダラ）」に類似した、オーストラリアの在来種である。黒い身体に白い斑点、そして秋の葉を思わせる色の翼を持つ。
この蝶がオーストラリアに渡来したのは、ジェイソンの曽祖父母がこの地に移住してきた時期と重なる。サイクロンに乗って漂着した可能性があり、北米から持ち込まれたトウワタ（milkweed）の存在によってオーストラリアの地に定着できたとされる。
北米にルーツを持つ両親のもとに生まれたジェイソンにとって、この蝶「ワンダラー」は、自身の文化的アイデンティティの象徴となった。
本作では、オーストラリア、日本、アメリカをつなぐ太平洋を意識し、その象徴的な楽器であるウクレレによる演奏を取り入れている。
Representing Leeton Shire in London
There you can hear the dawn chorus at Leeton's Fivebough Wetland, a location which is also part of a project that Red Earth Ecology are developing for a local primary school next month.
New beaks for activity sheets
Red Earth Ecology will return to Fivebough Wetlands in 2025
This location was the focus of an art installation at the Leeton Community Op Shop in 2020 that resulted in the design of a banner that's displayed at the Wetlands, as well as stickers that use the same design which are sold in the Leeton Visitor Information Centre.
This year our aim will be to develop an activity sheet for schoolchildren that educates about waterbirds ahead of an excursion to the Wetland.
"The significance of Fivebough as a destination for migratory birds from as far away as Siberia is one that attracts twitchers but is not as well known to Leeton locals," said Jason Richardson.
We will detail a handful of birds, although Fivebough's role as a jewel of the Riverina stems from being habitat for the highest number of waterbird species and it ranked second within the Murray-Darling Basin for the total number of species recorded in a single survey.
"Our aim is to help kids identify the significance of different beak shapes among those feathered residents in an extension of our Beak Technique Activity Sheets," said Mr Richardson.
In recent years Red Earth Ecology has been running workshops for children that use their interest in birds as a way to understand the significance of habitat.
This year REE will be continuing with both those projects by developing an activity sheet that focuses on the beaks of waterbirds to be part of an excursion being planned for students at Parkview Primary.
"We are planning to share a draft of the waterbird activity sheet with the Murrumbidgee Field Naturalists in coming months," said Mr Richardson.
"It will be wonderful to draw on the experiences of members, whose assistance has been greatly appreciated over the years — particularly in the development of the first Beak Technique sheets and the delivery of the Fivebough At The Heart of Leeton project."
Red Earth Ecology is supported with a Country Art Support Program grant administered by Western Riverina Arts and Create NSW through funding from the NSW Government.
Winding around the world
Wind organs are a simple instrument that struggle in a noisy world
I learned how to make them from the website of Didier Ferment, which seems to be no longer online.
His experiments included describing the results of variations, such as:
A slit of 8 cm by 10 mm produces a deep sound except when the wind picks-up and brings the sound one octave higher.The idea of repurposing a plastic vessel to make a spooky sound was one of those wonderful discoveries of the early internet.
A slit of 11 cm by 9 mm gives a medium sound, relatively clear within a wide wind range as well in speed as in angle of attack.
A slit of 20 cm by 6 mm gives a shrill whistle but requires a very precise angle of attack of the wind.
A slit of 16 cm by 17 mm will deliver a hoarse sound.
It might've been 2008, as that's when I published my first recording (although it's a short and rough one, so be warned there's a lot of noise).
In 2020 I remembered the idea and thought it was worth sharing, so I made this instructional video.
One of the great things about sharing one's enthusiasms is getting that enthusiasm back again.
In recent weeks I've had a couple of comments on my instructional video from Ronald and have enjoyed seeing his creations.
Advice for artists
Do you talk with your elected representatives?
It led to a Community Recognition Statement about a CASP grant from years ago and Mum was chuffed to come along to the morning tea where this photo was taken.
We know the arts need more recognition, so consider sending your MP an email next time you're promoting a project.
Community recognition statement
Today I ventured into the Soldiers Club to be formally recognised by the local member.
It was surprising to be remembered for a project from four years ago, but really excellent to be bignoted to parliament and quoted in Hansard.
Highly commended
Third time as runner-up in the Murrumbidgee Short Story Competition
Night At The Museum
Griffith Pioneer Park Museum's first night time event in living memory was an explosion of colour
The Museum's historic and replica buildings were bathed in large-scale animations with a variety of styles and materials.
Locals Andrew Keith and Bernard Gray were joined by regional artists Jason Richardson and Greg Pritchard.
The group of eight also learned skills in design and event management for the public outcome on Saturday night.
An audience of over 160 people from all ages attended and were able to appreciate the diversity of projection art techniques.
The opportunities for night time events at the Museum offers a range of possibilities at a venue traditionally used during the day.
Night At The Museum
Griffith Pioneer Park Museum will be seen as never seen before at a night-time event on Saturday 7 September
The line-up will include Griffith’s Bernard Gray and Andrew Keith, whose live-coding skills have been a feature of events in Banna Laneway and the local Art Gallery.
Dr Greg Pritchard will be returning to town and he is arguably one of the earliest proponents of projection art in Griffith, when he exhibited his skills while working as the inaugural Regional Arts Development Officer for Western Riverina Arts.
Joining them will be a full class of emerging talent gaining experience under Scott Baker’s tutelage as part of the Bioluminescence Project that has been touring NSW this year.
“It’s also wonderful to add new colours to the landmark location of Pioneer Park Museum.”
Mr Richardson has been active in the Riverina, from adding a projection event to the first Leeton Art Deco Festival in 2011 through to coordinating the InFrequency tour that played events in Yanco and Tanja with many of the same artists involved in workshops and performances.
“I helped establish Red Earth Ecology as an artist-run not-for-profit to develop opportunities in the region,” said Jason Richardson.
The Night At The Museum event will be Jason’s final activity at Griffith Pioneer Park Museum as he leaves the role of curator.
“It’s wonderful to bring colour to this exceptional community-based organisation and I hope everyone will join us in seeing the Museum in a new light,” said Mr Richardson.
“You can bring a torch to add your own light and it will assist families with exploring the event.”
Entry to the event from 7-9pm on Saturday 7 September is by gold coin donation and attendees are required to wear suitable footwear to navigate unsealed pathways at night
Snacks, refreshments and soup will be available for purchase.
Night At The Museum is supported by Griffith Pioneer Park Museum, Red Earth Ecology, Western Riverina Arts and Create NSW through funding from the NSW Government.
Live foley sound
It was a series of invitations that led me outside my comfort zone
Her talk was sensational and, although the breakfast was not my usual thing, I had an opportunity to talk with one of our town's creative luminaries.
She was in the process of rehearsing a play for a town festival that promotes Art Deco and the interwar era of the 20th Century.
It was interesting to learn how Leonie had taken lessons from her previous production and arrived at writing a radio play, which allowed the actors to use scripts onstage.
When live sound effects were mentioned she had my full attention.
There was a challenge with ensuring these props could be heard and, after I spoke about the potential for contact microphone, she asked if I was interested in becoming involved.
Sure, I said I'd have a look and see what assistance I could offer.
After a few ideas didn't work, I found the actor providing the foley sound was keen for help.
As I kept going to rehearsals I became part of the play.
It was my first dramatic performance since Ye Gods in year seven at Woden Valley High School and I had a lot of fun.
Photo by my brother Will Macleod.
Recent project
The next exhibition in the Griffith Regional Theatre’s Artspace will showcase local photography and an historic occasion when it opens on Monday 24 June 2024
“Around 3,000 people enjoyed the day and it was one of the biggest Action Days in recent years,” said Griffith City Mayor Doug Curran.
Traditionally held on the Friday before Easter, since 1971 the Griffith Pioneer Park Museum Action Day has seen the old machinery in action, and the displays that celebrate the history of the region brought to life.
Attendees this year were invited to take photos of the Action Day, and dozens of these images capturing various activities will now be exhibited as part of a competition that will be decided by votes from visitors to the exhibition.
Prizes were sponsored by Red Earth Ecology, a not-for-profit artist-led environmental organisation, who are keen to encourage everyone to engage with the Museum’s significant role in the Riverina landscape.
The Under 18 Category winner has already been announced, being James Favero.
The photographers competing in the Open section include Simone Borg, Emma Kenny, Neil McAliece, Sarah McCorkelle, PJ Lale and John Samuel.
The images have already found an appreciative audience among the staff and volunteers who worked during Action Day.
“We’re so busy focusing on the event that we often don’t get a chance to see all of the attractions,” said exhibition curator and Pioneer Park Museum staff member Dianne Silvester.
“It’s wonderful to see so many people having a great time.”
Theatre manager Marg Andreazza said, “We love using Artspace to exhibit local artists, and this particular exhibition is great because it features photos of a much-loved local event, taken by local people,” Ms Andreazza said.
The Action Day Photography Competition Exhibition will be on public exhibition from Monday 24 June until Friday 16 August with winners notified after it closes.
Dead Heart of the MIA
This is a piece that was short-listed in a recent competition
“In Whitton they don’t bury their dead -- they walk the streets,” said old Bill Clyne at Christmas lunch.
My partner's grandfather had dementia but remembered me the few times we met.
Anyway, it's the sort of introduction that makes a town memorable.
Whitton is the oldest settlement in the Murrumbidgee Irrigation Area.
It grew between large sheep stations including Yanco, Tubbo and Kooba.
When the railway arrived in the late 19th Century it changed names from Hulong to avoid confusion with Howlong.
It had a number of pubs and businesses until a fire in the early 20th Century.
Only a fraction of the main street remains.
These days there are only a few places to shop and the museum never seems to be open.
There is a Common, a bush block on the edge of town that's thick with remnant gum trees.
It's the Common where it feels like the dead wander about.
If you're willing to walk around the watering hole and the cattle that are often stocked within the barbed-wire borders.
Particularly among the trees behind the old courthouse building.
Some of the old grey boxes show cultural scars.
They're marks made by Wiradjuri people to create tools including coolamon, a kind of platter for carrying items between campsites.
A couple of scars look like shields and I think they're a poignant reminder of the Frontier War fought here in the 1830s.
The Common offers a glimpse at a more timeless Riverina landscape.
A shady billabong among the circular shapes cut into the rough trunks of the old eucalyptus trees.
It feels like ghosts might be found here and I have heard they've been caught.
When I worked for Landcare I heard the story from Murrumbidgee Irrigation's environmental officer.
She told me the Common was available for locals to store their animals, such as the cows I saw.
However, the booking system had been reviewed after it was found that names of dead people had been listed.
While the dead haven't been seen walking the streets, they have been recorded in Whitton Common.
Are you being served?
David Henry Taylor recently returned to the counters at Taylor Brothers Store in Griffith Pioneer Park Museum
It's a reminder of the times before self-service supermarkets and a recent visitor shared their recollection of working downstairs to package stock for sale.
Everything exists in history
As I neared the end of my first degree, it became obvious that I'd missed an opportunity
Many of my friends at ANU were majoring in History and I began to realise the scope it provides.
My favourite major at the time was Cultural Studies (it was the 1990s!) and that subject was liberating for the breadth of analyses and interests, yet history encompasses all subjects.
"Everything exists in history," I said to my mates and it's a realisation that few seem to have noted.
(I recently googled the phrase and there was only one mention other than my own.)
Now that I work within a museum, I often wonder why more institutions don't act on the opportunities available to reflect this broad scope.
So yesterday I took the opportunity to present the Southern NSW Heritage Group with a survey of creative projects from around our region.
These are public outcomes that engage with history in various media, both inside and outside of museums.
I began with some context by outlining my background and interests, particularly a key lesson from my career working in public relations that human interest stories are effective and often affecting.
A lot of my work as a curator at Griffith Pioneer Park Museum involves putting a human face on history.
People can't help but look for faces and it will often bring into focus experiences as a way of giving context for an item.
This includes poetry and it's a style that provides an example of how writing in museums could be done differently.
There are many layers of meaning available in poetry and I often think back to this quote from Harrison Young.
(As an aside I noted that not many people have heard of Mr Young, who left the Board of the Commonwealth Bank and no longer gets mentioned in the Australian Financial Review for writing erotic fiction. I think the latter is great because everyone should have a creative outlet!)
One project that brought creative writing to regional museums was the Encounters program run by Orana Arts.
They recruited a group who were mentored by Ruth Little to produce a book that includes a range of styles, from an essay to poetry.
Ruth crammed a huge number of consideratons into our heads during a two-day workshop at Port Macquarie and the photo shown here was taken by project coordinator Andrew Glassop.
I thought it would be easy to write about Pioneer Park, having worked there for a couple of years, and my creative non-fiction piece led me back into the role of curator.
Another project I shared was Leeton Memories, which I developed for the not-for-profit organisation Red Earth Ecology.
Shown here is Cynthia Arel, better known for her work as a designer for stage and screen, who interpreted the memories of Julie Maytom.
You can sorta see the sign in the lower left-hand corner that showed the QR code which linked to the recording of Julie.
I was surprised how often I'd pass the Leeton Memories displays and find people were listening to the recordings at these links, but it's clear that audiences are more familiar with this technology since COVID-19.
This used the Cut-up Technique to investigate hidden histories, providing an interactive exhibit that blurred the line between artist and audience while gently questioning perspectives.
The latter presented images from the past in the present day locations around the Park's grounds and coincided with Griffith's centenary celebrations.
Kate made an observation that it can be a challenge for museums to engage audiences:
“Maybe we read a little about it and think about that object’s place in history but putting an artist’s perspective on it adds a different layer.
“It can make us think about some deeper themes, some deeper connections to history, and I think that’s what this exhibition does through the stories it tells us.”
It was fortuitous that on the morning of my presentation I read that people will spend "around 27 seconds" reading the information accompanying an exhibit.
And it was wonderful to be introduced at that time to this cartoon by Lynda Barry that I quickly incorporated to conclude my presentation.I think it shows a connection that can be rewarding when visiting an exhibition and believe this is something that curators should aspire to achieve.
There were lots of questions afterwards and I had an opportunity to tell the crowd from regional museums to "embrace the freak" when a weirdo like me comes along with an idea.
And, any artists reading this, please consider reaching out to your local history group as you might find it advantageous to have the support of an incorporated community group when preparing a funding application.
Railway Hotel
Just got home from a residency at the Railway Hotel in Stuart Town
While I was there I heard this birdsong that I couldn't place, so I made a song to remind myself and to show some of my creative practice.
There's also The Zine from Iron Bark that I made showing photos and poems from my stay.
Griffith Post Office reunion
Retired staff recently returned to the counter of the Griffith Post Office and remembered old times
Ern Myott and Jack Carroll were engaged on morse telegraph duties and they could not leave the circuit unattended to appear in the photo.
We encourage all former staff of the Griffith Post Office to reacquaint themselves with the former facilities and hope they will share their memories for our exhibitions.
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