He Puts Out His Hand. You Put Out Your Hand. Emerging, Urban, Aboriginal Theatre-Makers. What Does it Take to Emerge?

Abstract

The largest percentage of Aboriginal and Torres Strait Islanders in Australia live in Sydney. Despite this large Aboriginal and Torres Strait Islander population, there is there is very little recorded evidence of a prominent artistic presence of Aboriginal theatre-makers who are creating new, contemporary expressions of urban culture. From 2007-2011, PACT centre for emerging artists (PACT) created a series of Aboriginal-specific opportunities and programs for emerging, urban, Aboriginal theatre-makers who were interested in experimenting in new methods of creation and exploring their urban, lived experience. These opportunities generated a small, critical mass of Aboriginal theatre-makers. The program was in many aspects successful, however it also faced various challenges and misunderstandings. When one of the participating artists, Björn Stewart, presented a new performance work that expressed confusion, dislike and a sense of manipulation in the opportunities he was being offered as an artist by various organisations, it highlighted that perhaps the opportunities being offered to these theatre-makers were not what was perceived as being needed, and that there are varying motivations, agendas and expectations behind such opportunities by those providing them. This study identifies three key stakeholders who contribute to different points of the development of opportunities and new Aboriginal works: the funding body, the arts organisation and the artists. Using PACT’s Aboriginal-specific opportunities as a case study, this research set out to discover: (i) if current opportunities being offered to urban, emerging, Aboriginal theatre-makers are effective; (ii) what are the stakeholders’ perceptions about what is required; and most importantly, (iii) do these perceptions align with each other, and if not, what is the impact on Sydney, urban, emerging Aboriginal theatre-makers? To date, there has been no record of emerging, urban, theatre-makers having been consulted or given the opportunity to voice what they believe an emerging, urban, Aboriginal theatre-maker requires to “emerge”. This study begins that record.