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I'm an old codger. I have been performing on stage and concert platform since 1965. So it's fair to say I've been around the block a fair few times. And as a friend, perhaps a wee bit unkindly noted, I still haven't found a park!
It seems to my experience that contemporary western culture and arts ground to a halt in the last decades of the 20th century. And it's spent the first two decades of the 21st century circling over and over old ground; recycling age-old white male points of view to a ridiculous and ultimately barren extreme. It's all become a bit like Latin - interesting to those in the know but to the rest of us? A thoroughly dead language.
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Its not just content that is stale: Context and delivery seems increasingly inappropriate.
Consider mainstream theatre's beloved Three Act narrative structure. Does your life consist of a trio of exquisitely defined chapters heading towards a triumphant grand finale? Mine doesn't. It seems to lurch through what perhaps might be more accurately described as seasons. Seasons of unknown duration and random order, and often conflicting contents. None of them subject to structure and control. One moment I can be enjoying a balmy summer's eve of clarity and content, the next I can be snowed under by pain and confusion, lashed by the bitter winter winds of despair.
Another sign of mainstream arts decadence is the lengths to which its members will go to protect their privilege. Take our place in current arts programming. Being asked to play or dance a single role in what is essentially a biographical narrative by a person without disability, isn't accessibility, it is assimilation. We are not there to change the way the mainstream looks at the world or their art. We are included so these august traditional bodies can continue to exist in changing times. We are there to broaden their audience. To ensure their funding - to help exploit a current funding practise that focuses on a patriarchal patronage model. A model that seeks to fit us into ossified arts structures and hierarchies, ignoring and discarding those of us that don't or can't fit.
It's all a bit drab, a bit self congratulatory, a bit incestuous. Its all a lot regressive, and worst of all - its all majorly boring!
What is needed is something fresh and expansive; something that is actually true to our lived experience.
We need new revelations of interior life, and fresh explorations of interpersonal and societal interaction. A thorough shake up of contemporary culture's cliched answers to "what why how and when"!
What is needed is Dragons! The inhabitants of the far-flung, forbidden and forbidding, unexplored regions of the cultural map. And not just the firebreathing destructors of western male myth, but the muscular taniwha silently protecting the waters of Aotearoa New Zealand, the airy asian dragons of nature, as portrayed in Miyazaki's 'Spirited Away', or the Rainbow Serpent of indigenous Australian nations.
I believe that in a new and yet uncharted conversation, a new and unexplored landscape of cultural reciprocation something fascinating and vital could be born. In the interplay between artists of alternative ability lies a new and as yet unknown culture. One that is unprocessed and unpossessed by mainstream measure and restriction, and undenied by traditional point of view. In the very distinctiveness of our personalities, shaped by a unique combination of challenges, lies a fascinating frisson of possibility. How it might all play out is unknowable and that is what is so very exciting!
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Connecting and working together is an especially charged issue for us - we earn about 53% of what other artists do (and they earn little enough), and as the result of poverty, twice as many of us are spread out into rural communities. And for all the government crowing and self congratulation, as of this year NDIS supports a mere 250,000 people from a disabled population of 4.3 million.
So let's make it a priority to seek opportunities and demand funding to enable us to talk, explore, and practice together. Because while of course we have fresh and vital voices as individuals, who knows what amazing new cultural adventures we can have as a community. Let's take a collective journey into those uncharted dragon lands to find new ways to express all the gloriously infinite ways to be human.
A story:
It's 1981 New Zealand: a surprisingly large proportion of the population march nationwide in protest against an Apartheid tour by the South African Rugby Team. The Pakeha - white - are feeling righteously incensed about racism in South Africa. At the protests (which got 'vigourous' - an understatement) Maori stand up and go "Eh, Hang on a minute bro!"
As a result of what that awoke, during the 1980s the 1840 Treaty of Waitangi (made between the indigenous people of Aotearoa and the British colonisers) became a major energy in Kiwi politics and arts.
At the time I belonged to a theatre co-operative - The Depot - formed in 1983, who proudly proclaimed that it was "New Zealand's Only New Zealand Only" theatre company. We only presented work created by kiwis. From early on more than half of our productions were women led - women writers, directors, and performers.
As a collective, we decided that the Treaty needed to be ratified in our structure. So for six months of the year, 50% of our funding and assets, and the venue were handed over for Maori to use as they wished. The white/Pakeha members of the Co-op stepped aside. We made room.
That first step into the unknown resulted in the creation of Taki Rua - now one of NZ's foremost Maori theatre companies, who tour nationally and internationally presenting works that celebrate the indigenous culture of Aotearoa.
In summary: In Australia today we struggle to live and create in an increasing hostile and alienating political environment, fuelled by a poisonousness media. So what is the answer?
Well, at best I can manage two questions...
1: I wonder what would arise if we broke the limitations of isolation and dared to work adventurously together?
And ...
2: I wonder how quickly that vital and exciting new culture might grow into being, if mainstream arts organisations made space for us; stood aside and freed their venues and resources for our use, offered up our share of funding?
I have no idea how that new culture might turn out.
But one thing I am sure about - on the way to discovering it,
I want to travel in the company of Dragons.
Glenn McKenzie 22.08.2019