![]() ![]() The event is free with lunch provided and everyone is welcome, but RSVP is essential.įrench and British colonialism of the early 20th century in the Middle East is the starting point for The Cartographer’s Curse. Black and Lebo takes place on Friday, September 30, at Western Sydney University, Bankstown campus, Building 3, Room G 55. His second novel The Lebs will be published early next year.Įllen and Michael will discuss the intersections between race, faith, class, gender and sexuality in contemporary Australian literature, give performances from their latest works and take questions and comments from their audience. He has won several awards for his work and for his debut novel The Tribe. Michael is the director of Sweatshop – Western Sydney Literacy Movement, a talented actor, and a doctoral candidate at the Western Sydney University Writing and Society Research Centre. Ellen won the NSW Premier’s Literary Awards Indigenous Writers Prize, among other awards, and has just published a new book Comfort Food, a collection of poetry. ![]() Diaspora Making Machines will continue at Blacktown until Saturday, November 5.īlack and Lebo promises a lively discussion between two award winning young writers, Aboriginal author Ellen van Neerven, right, and Michael Mohammed Ahmad, below, left. The other artists are Jumaadi, Nerine Martini, Susannah Williams and Warren Armstrong, Luping Zeng and his son Cheng Zeng. Mehwish has undertaken international artists residencies and has a keen interest in themes of integration, assimilation and separation experienced by migrants living in Australia and issues faced by under privileged children in developing countries. In 2006, she moved to Australia with her family where she completed a Masters degree at the College of Fine Arts UNSW. Nonetheless, she defied traditional expectations to complete a Bachelor of Fine Arts at the National College of Arts and then moved to Dubai. Another of the artists is Mehwish Iqbal, who grew up in a small town in Pakistan where art wasn’t even taught in the local school. His work, left, Pipe Dreams (Part A), suggests a challenge to the role of the church as a systemic device in the dispersal of Aboriginal communities. Offering an Aboriginal perspective on the exhibition’s theme of Blacktown’s historic place as a centre of migration, attitudes to newcomers, and notions of belonging and assimilation is Blak Douglas, who grew up in the area. ![]() Some were forced, like the Aboriginal and Maori children sent to be “reformed” at the 1823 Blacktown Native Institution, and others like migrants and refugees who made new homes there by choice. In Diaspora-Making Machines eight artists of diverse cultural backgrounds explore some of “the systemic devices (the machines) that generate movement and the dispersal of communities (the diaspora).” From the earliest days of the colony, Blacktown has been a scene of continuous waves of migration. Director Paula Abood explains qanun is the origin of the English word canon, encompassing the lore and law of a society. Above is an image of the qanun, a Middle Eastern instrument featured in The Cartographer’s Curse. The third is The Cartographer’s Curse, a new production created by National Theatre of Parramatta, which explores the complexities of political and social divisions within the Middle East. The second is a public dialogue between writers Ellen van Neerven and Michael Mohammed Ahmad under the provocative title Black and Lebo. The first is Diaspora-Making Machines opening at Blacktown Arts Centre, on Thursday, September 29. ![]() art is at its best when it allows catharsis through story telling and a nation is at its best when it provides a refuge for humanity to heal and flourish.” It seems that this observation is relevant to three arts events due to launch across western Sydney, where negotiating multiculturalism and difference is a daily experience. Award wining film director George Miller says, “. ![]()
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