Representation

What Happens When You Tell Somebody Else’s Story?s

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.'

Racial Equity and Representations

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.'

Cultural diversity and the artss

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.'

Dismantling Anti-Blackness in Democratic Workplacess

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.'

Cultural Representation Pledges

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.'

#PowerShifts Resources: Reclaiming Representations

The introductory post to a blog series by Oxfam’s ‘From Poverty to Power’ offering stories, projects and resources addressing blindspots in development work, and how to make power shifts happen. Features a special focus on other ways of telling stories and decolonising knowledge.

Reflecting Me: Global Representation On Screens

Explores perceptions of on-screen representation in Australia and 14 other countries. Based on interviews with over 15,000 people (1000 in Australia), the research reveals:

* 55% of respondents feel there needs to be more accurate representation of diverse identities, 47% feel there needs to be more types
* the media is more than twice as influential in shaping positive views toward marginalised groups than those closest to you

Adjusting the Colour Balances

Report on how to increase BAME partipation and representation in Film and TV, both in front of, and behind the camera with particular focus on directors. The four recommendations include policy advice on data collection, setting targets, recruitment and contracts.

Why Malaysians Need a New Term to Define Cultural Appropriation and Appreciations

Analysis of cultural appropriation in Malaysia, even after centuries of intercultural exchange in Malay, Chinese, Indian and indigenous communities.

Five creative project scenarios are presented that raise questions of appropriation, and potential alternative ways of moving forward more ethically.

'Cultural power acknowledges that imbalances exist. It’s not just about sharing, but recognising that dominant cultures dictate what’s acceptable while minority cultures face erasure or stereotypes.'

Blind Women’s Orchestra – Al-Nour Wal Al-Amals

Girls with disabilities in Egypt face stigma and discrimination within a conservative society that limits their education, employment, and decision-making opportunities. But Orchestra Al-Nour Wal Al-Amal (‘Light and Hope’), which is composed entirely of blind women, has broken stereotypes and provided a new narrative about Arab women living with disability.

Combining the traditions of Forest Theatre and Street Theatres

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