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Connecting Women From Refugee Backgrounds With Communities

Connecting Women From Refugee Backgrounds With Communities

Women from Afghanistan, Myanmar and Syria are now settling in the regional Australian communities. While adjustment to a new life can be difficult, it is possible to feel a sense of belonging.

Creative arts are a great way to improve well-being and social connections for those who have suffered trauma, such as women from refugee families. Through creativity, we can also build bridges and address fears of refugees as well as communities surrounding refugee settlement.

Our recent study examined the experiences of refugee-migrant women living in regional Australia. They shared their art in community art shows. As newcomers adjust to their new lives, we wanted to find out about the many benefits that engaging in creative art can bring.

Anglicare Northcoast’s Three Es to Freedom program was the research partner. It aimed to foster community connections to improve social inclusion and personal goals. The program was establish in 2016 and has helped 142 women from 36 different countries. The creative component of the program saw women participate in workshops with artists from the local community, allowing them to develop and hone their existing skills. Women displayed stories, textiles, and installations at exhibitions in Coffs Harbour, Lismore, northern NSW, and on the Gold Coast.

Enhancing Confidence And Well-Being Communities

It is well-known that creative arts practice can have a therapeutic effect, particularly for refugees. For those who have suffered trauma, art can be a way to express and advocate for oneself, and it can also promote positive feelings.

When the women thought about what sewing, painting, and drawing offer them, they were inspire by these positive experiences. One woman share with us that creativity had gotten me out of my depression and it’s given to me love.

They created intricate, circular textile works that told stories about their childhood. The women created a story cloth, a collection of textiles that they used to paint symbols representing their own personal journeys. To show their resilience, they also created a large feather installation with inspirational words such as strong or free.

Increase The Enjoyment

It’s not just about the creative process. It was a way to increase the enjoyment of women by sharing experiences. One participant stated. Sometimes, even if you don’t feel happy, it can help you. You go to group. You leave the group feeling happy and relieved. They supported one another, learned about each other’s cultures, and shared their knowledge with each other.

The women were able to use their existing skills, learn new skills, and gain confidence. They then sold their work at local markets and opened pop-up shops. One woman was known for her exceptional dressmaking skills, and she started her own business. Women who were previously denied employment opportunities by their male counterparts saw these new initiatives as a step forward.

Professional photographers were also hired to photograph the women as they created their own work. The women were photograph in traditional clothing, while others enjoyed themselves in the community gardens. One woman shared her story with us. They were indeed beautiful. Although it looks shy to me, I was happy to see the changes in the photos.

Being Heard Communities

The public-facing exhibit was another important aspect of the project. The women felt empower and encourage to achieve their goals by the fact that people were interest in their lives and cultures. One woman said it.

It was a great feeling to see so many people come. My story, which is my childhood story, and my unforgettable memories, makes me very happy. It allows me to share my traditions with others so that they can get to know my country. Participants wrote messages to the women using paper birds and put them up on the walls.

Commonly, you will find the words welcome or friendship, as well as drawings and love hearts and peace doves. The conversation between artists and visitors was a bridge between migrants in their new community. One participant stated that the positive comments made by visitors made us feel like the community was open for us.

New Study Of Artist Chinese Ideas Influenced

New Study Of Artist Chinese Ideas Influenced

Since the Whitechapel exhibition in 1961, paintings Chinese by Ian Fairweather have been part of every survey exhibition of Australian artwork. Since Bernard Smith’s 1962 Australian Painting, Fairweather has been a key figure in every analysis of Australian art history. His paintings can found in the National Gallery of Australia as well as all state art galleries and some regional centres. Murray Bail has published a monograph on him, and he has also been the subject in a number of important survey exhibitions.

Claire Roberts’s meticulously researched analysis of Fairweather’s ideas and art reveals that he can’t call an Australian artist. This isn’t because Australia has a bad habit of treating anyone who spends time here as one of its own.

Fairweather was born in Scotland, and raised in Jersey. He first visited Australia in 1930s and 1940s. In the 1950s, he built a house on Queensland’s Bribie Island, where he lived until his death in 1974.

Chinese Art And Fairweather

Roberts’ first book on Fairweather, Ian Fairweather A life in letters co-written by John Thompson, provides the background research for the study of the artist’s life, relationships and constant search for meaning. The books that he valued and read throughout his life are also important sources.

This study is unlike any other Fairweather studies. It features her scholarship in Mandarin and contemporary art. Roberts has the unique ability to analyze Fairweather’s work within the context of his uniquely idiosyncratic understandings of Chinese literature, and classical Chinese language.

Roberts’ Mandarin scholarship is highlight in Fairweather’s stunningly illustrate and free translation of The Complete Biography of The Great Master Chi-tien (Jidian) which explains Roberts’ significance.

She points out that, while this book was praise by many, it is best described as a creative exploration exercise. Her own words, a summative significance to an understanding Fairweather’s artistic practices.

In 1929, Ian Fairweather visited China for the first time. In 1936, Japan was about to declare war on China. Fairweather left for good. However, his art was influence by Chinese ideas throughout his life, particularly Taoism, and Buddhism.

A National Artist Belong To Any Chinese Nation

Fairweather can best be described as an independent British wanderer living in the colonial tradition the old Empire. The Art Gallery of South Australia asked Fairweather to name the artist that had most influenced his life. He replied, “a disciple of Turner”, the most English of 19th-century artists.

His life bears all the scars and marks of the British Empire. He was the ninth child of an Indian Medical Service doctor and was born in Scotland. He was six months old when his parents left India and left the baby with a great-aunt. For the next ten year, he did not see his family. Due to family expectations and duty, he joined the British Army in 1914. However, he was capture by Germany and made a prisoner of war.

He first came across books about Japanese and Chinese art in the library of a PoW Camp. He studied art under Henry Tonks at the Slade after the war and then traveled to Canada, China Bali, Australia, India, the Philippines, and Australia.

Fairweather took insane risks in his own safety throughout his entire life, but was always save through chance. His accident landing on Bribie Island 1948 in his small, ramshackle sailboat crashed landed him there. However, he did not return to the island until his most notorious misadventure.

Fairweather Tried To Sail North-West

This was 1952, when Fairweather try to sail north-west in a homemade boat from Darwin and got lost at sea. Fairweather’s life is full of details, but Roberts summarizes it in one paragraph. It is not necessary to follow the same paths as before.

She concluded that Fairweather was an artist who didn’t belong to any nation, but walked his own path, searching for the truth. The text weaves together the truth the story of Fairweather, the young man who was caught in an avalanche in Switzerland, feeling at one and the mountains, the sailor who wants to with sea and the man living on an island off Queensland’s coast, expose to the elements.

Laurence Binyon’s The Flight of the Dragon, an Essay on the Theory and Practice of Art In China and Japan was one of Fairweather’s favorite books. It is based on Original Sources (1914). Binyon wrote this:

To be an artist, one must see beyond the surface of the world and feel possessed by the great cosmic rhythm of spirit that sets the currents in motion. Fairweather, I believe, would have considered the idea of claiming his artwork as belonging to any country or style an irrelevancy.

World Of Pain Australian Theatre In Crisis

World Of Pain Australian Theatre In Crisis

The ecosystem of Australia’s performing theatre arts industry has been long recognize. It’s a network of artists, arts organizations, and institutions that are all affected by factors like education, training, audiences and policy. It includes commercial organisations, not-for profit, government-subsidised companies, independent grassroots ventures, and amateur groups that produce and tour creative works for audiences locally and nationally.

This ecology was affect by the COVID-19 epidemic. As we move from crisis to recovery and the dust settles on the post-COVID terrain it is likely that we will see a mass exodus amongst the sector’s disillusioned freelance workers. Small companies without the necessary infrastructure are also at risk. Already, the university theatre departments have been decimate. This all paints a grim future.

Over a year, the sector has been asking for additional support. Theatre Network Australia proposes an additional $100 million for the Australia Council over four years and a targeted wage subsidy to workers in the performing arts that continue to suffer from COVID-19.

Theatre In Sydney

Hope is available for the top tier. Theatres in Sydney given permission to open at 75% capacity due to rapidly rising vaccination rates. This month will see the reopening of big stage musicals Hamilton, and Come from Away. Sydney Theatre Company will be back in November with Julius Caesar. They also plan to stage an international tour of The Picture of Dorian Gray starring Erynjean Norvill with the commercial producers Michael Cassel Group.

The Melbourne theatres are still close until the pathway above the peak of the pandemic has been establish. However, there is hope that theatres will reopen in the next few months. Melbourne Theatre Company just announced that its 2022 season will begin in January.

These companies were able weather the storms in 2020 and 2021. Independent artists and smaller businesses may not have been as fortunate. The resumption or even the possibility of touring is still a far-fetched dream, with state borders still closed and regional vaccination rates lower than in other areas.

Due to COVID funding losses, drama departments at seven universities were either severely or completely cut. These programs loss will have devastating consequences for future generations of artists, and educators in the arts. It is possible that the end of the pandemic is near. The theatre sector in Australia is experiencing pain that may not be over.

Caught In The Rip Theatre

In June 2020, the federal government established the COVID-19 Arts Sustainability Fund. This fund was create three months after COVID shut down theatres and venues. It also halted touring. This caused unemployment or substantially reduced employment for large numbers of freelance workers.

The $50 million fund will remain open through May 2022 in order to provide assistance as a last resort to significant arts organizations at imminent danger of insolvency because of the pandemic

The fund has just awarded $5 million to the Melbourne Theatre Company as a cash grant. This money is meant to save one of the most important cultural institutions in Australia from going bankrupt. Virginia Lovett (executive director of the company) described the pandemic as like being caught in an a rip.

Imminent Risk is a term that evokes urgency. It refers to a clear and immediate danger. This language of pending catastrophe is an interesting metaphor that the government could use, considering the recent changes in Australia’s subventioned performing arts industry.

Labour Government

Federal funding for the arts has fallen in the last three years since the Labour government was elected. Australia is ranked 25th in the OECD league table of culture spending per percent of GDP. Australia was 25th out of 34 countries and spent 0.9% of its GDP on culture in 2019. COVID-19 is a new threat to an arts ecosystem that has been in danger for a long period.

Restart Investment to Sustain & Expand (RISE) is the most important component of the government’s COVID-19 intervention for the arts. It is a project-based, $200m competitive grant fund. Up to now, $160million has been distributed to a variety of organisations, including those from the metropolitan areas, as well as non-profit and commercial organizations. It also supports touring, festivals, and exhibitions. This is a wider range of recipients than the usual roll call of Australia Council funding.

Support for regional projects and initiatives is a devil in detail. If it isn’t able to quickly leverage return via buoyant ticket sales, then touring funding will be of limited use. Regional vaccination rates will continue to decline for some time.