Representation

What Happens When You Tell Somebody Else’s Story?

Multi-award-winning Waanyi writer Alexis Wright on the power of representation.

'we often feel it is pointless to take on the endless stream of other people’s points of view about us that comes through the media, or to make the effort any more to turn around each new and mostly negative storytelling trend. The truth is, we have simply become other people’s subject matter in the stories they tell, and pay the high price of their foolishly playing around with the Aboriginal sense of self.'

Combing the traditions of Forest Theatre and Street Theatre

Brazil's Vivarte focuses on research and promotion of Amazonian traditional cultures. It works with the storytelling and mythology threaded through the daily life of indigenous communities and their environment.

“Forest Theatre is alive, because the forest is alive. Like the forest, it is in constant transformation.” - Dani Mirini, Director, Vivarte

Cultural diversity and the arts

Australia's Race Discrimination Commissioner on representation.

'There is no human right...for people to be reflected in the arts or in media. But we can all appreciate that someone’s dignity can be connected with how they – or, to be more specific, the group they belong to – are depicted in the public sphere. Where a group in society is invisible or demeaned, the message is clear. Those in that group are outsiders, second-class members, or even an ‘other’ against whom society defines itself.'

Cultural governance, cultural equity and self-determination in the dance sector: Merindah Donnelly

Wiradjuri woman Merindah Donnelly is the co-CEO and Executive Producer at BlakDance.

'Let’s not get distracted from our own self-determination by trying to ensure that non-Indigenous organisations are doing cultural engagement better. They got to do that. But we also have our own thing and that’s a human right and we can live in a world where both of those things coexist.'

Cultural Representation Pledge

Sydney Theatre Company's pledge to represent the lives and stories of the people of Sydney, in all their cultural complexity via a commitment to Anti-Racism, education and training, pathways to opportunity and leadership, playwriting, programming and employment.

'We know the stories we share, and the storytellers we offer a platform to, can help to shift our culture in a positive direction, and we want our stages to be a place that represents the many beautiful cultures of our city and beyond.'

Dismantling Anti-Blackness in Democratic Workplaces

A learning guide with activities, resources, writings, and prompts for further reflection and growth

'Our goal in creating this packet is to equip democratic workplaces with tools to see and address antiBlack racism when it happens, as well as creating systems and practices that undermine anti-Black racism.'

Indigenising the Arts: Jacob Boehme

For Jacob Boehme, a multi-disciplinary Narangga and Kaurna artist and Director of First Nations Programs at Carriageworks in Sydney, best practice in the arts begins with moving past inherited colonial systems of transactional art making towards trade systems influenced by traditional models.

‘Best practice’ is all First Nations teams not succumbing to the Western lens. ‘Best practice’ is foregrounding and centering First Nations’ performance methodologies at the beginning and/or centre.'

Intercultural Collaboration and the Responsibilities of Representation: Dalisa Pigram

Yawuru and Bardi woman Dalisa Pigram is the Co-Artistic Director of dance company Marrugeku.

'Working with those Elders and with other artists at a young age, you develop a sense of responsibility. Best practice is to accept that responsibility – where you sit in the group.'

'We did this as a collective – it wasn’t one person at the front telling everybody what to do... it was 'listen to these people who hold that story and everybody brings their strength to work out the best way.'

Racial Equity and Representation

Recommendations from the National Association for the Visual Arts' Code of Practice for Visual Arts, Craft and Design.

Structural issues and barriers in the arts, 'can look like being asked to ‘perform’ your identity in your art, being visibly tokenised but not properly remunerated for your labour, having your culture and language disrespected, or being asked for access to your contacts or community without a proper process of paid consultation.'