Dircksey Destiny vol3 ed3

ISSUE 3 : DESTINY

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Contributors: Aimee Minchington Ana Music Andrew Douglas Christopher Spencer Clare Varcoe Connor Armenti Elisha Hammond Harvie Taylor Holly Ferguson Karina Miyakazi Leighton Campbell Noemie Hunter-Koros Tristan Sherlock Vanessa Vlajkovic Zachary Sheridan Artists: Ana Music Dominic Ferguson Holly Ferguson Marshall Stay Paul Hunt Thomas Moore Special Thanks To: Cover: Thomas Moore Interviewees: Brendan Ritchie Jeffrey Jay Fowler Natalie Allen Robert Cook Perthonalities: Gage Haylee Maxine

The opinions expressed herein are not necessarily those of the Dircksey Editor(s), sub-­editors/ section-­editors, Edith Cowan University or the Edith Cowan University Student Guild. Reasonable care is taken to ensure that Dircksey articles and other information are up-­to-­date and as accurate as possible, as of the time of publication– but no responsibility can or will be taken by the abovementioned entities if an issue of Dircksey has any errors or omissions contained herein.

Editor: Holly Ferguson editors@ecuguild.org.au

Music Editor: Harvie Taylor

dircksey.com.au

Films Editor: Zachary Sheridan

Marketing: Lauren Reed lauren.reed@ecuguild.org.au

Art & Literature Editor: Tristan Sherlock

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Features

Art & Lit

5 / Access- A Right or a Privilege

20 / A moment with Brendan Ritchie

6 / Not Allen’s lollies lots but a 100% charged Natalie Allen:

21 / ECU Perthonalities

22 / The Rise of 8 / Credits roll at Piccadil- Sneaker Culture ly Cinemas 24 / Iconic 10 / Fate and Destiny in Eurovision Fashion Classical Greek Drama 25 / Book Reviews 11 / Pull the Trigger 12 / Slap!

Music

26 / The Gorillaz 13 / It’s Just, a Little Rush Return 14 / Interview with Jeffrey 27 / Music Reviews Jay Fowler

Film

16 / Wandering is my arrival. Departing is my residence.

18 / Different Afterlives 19 / Eternal Destinies Art by Paul Hunt FEATURE / 4

28 / Robots from Outer Space

30 / The Last Jedi teaser and the future of Star Wars 31 / Film Reviews

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Access- A Right or a Privilege

By Vanessa Vlajkovic

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desired effect on the community.

et’s start with a question – do all of you reading this magazine take your eyes and your ears for granted? The answer for 99 percent of you, is probably yes. But what about the remaining 1 percent? This 1 percent will tell you that you should never take anything for granted in life, because you can lose something almost as quickly as you got it.

An example: every time I sit on an aeroplane, I am forced to watch an interpreter next to me as the safety instructions are explained. Yes people, I have to bring an interpreter, but why?

The simple answer: airlines don’t bother to provide accessible versions of this information – as far as they are concerned, deaf people don’t need to know what to do if there is an emergency. No sign language or Braille For the purpose of this article, we are going to means we, the disadvantaged, cannot live the independent lives we are entitled to. It’s look at the future of the Deaf and Deafblind communities – this covers a lot of ground, and pretty ridiculous hey? And it can be changed, more than likely is way too broad a topic to be but it NEEDS to be fought for. The future of these people is not looking too bright at the completely understood. However, with some moment because organisations are refusing to information and a little personal experience thrown into the mix, you’ll hopefully come out provide us with the essentials. the other end feeling a bit more educated on I’m going to skip the second example of the subject.

Braille menus because I will run out of space – nonetheless, keep in mind I don’t have the To give some perspective, and while I won’t liberty to read any old restaurant menu. go into detail, I have never known what it’s like to have perfect vision. On the other hand, As you can see from the above, the Deaf I could hear normally up to the age of seven; and Deafblind population are suffering after this, my hearing was mostly stable for unnecessarily due to the ignorance of society. the better part of 10 years. Today though, I communicate with sign language as I was These are only two of the challenges faced by re-diagnosed a few years ago with a new myself and my fellow Deafblindies. There are condition that hearing aids couldn’t fix. many more, but the bottom line is: if change isn’t made, and made soon, we are setting up Anyway, this is not about me. I merely want our next generations for failure. you to get a feel of who is behind this article in order to make sense of what I’m saying. To We are putting obstacles in their way that some, I’m sure the issues faced by people like shouldn’t be there, barriers to an equal life myself may seem trivial; however, I’m here to that they don’t deserve. If I have to go through tell you that it’s as important as anything else it, fine. But I’ll be damned if those after me you can think of that needs improving. are subjected to the same mistreatment.

There are a billion different forms It’s the twenty first century, we should be of discrimination in this world and embarrassed that things like this even exist – inaccessibility is right up there at the top it would have been excusable 100 years ago, of the list. At least there are laws such as but now? With all the advances in technology the Racial Discrimination Act that will stop that are happening, it’s highly disappointing someone from misbehaving because there’s that some groups of humans are having to live a legal argument to support a court case. below average.

Unfortunately, the Disability Discrimination Act does not seem to be having the same FEATURE / 5

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Not Allen’s lollies lots but a 100% charged Natalie Allen: pretty, attractive and Courtesy when the set choreography has come to an end- roll credits, itting down with Natalie Allen at nine close the curtains, drop mic, fin (written in in the morning at table number 14, she cursive font). orders a Chinotto. Questioning what coffee she prefers, she states that it depends on It’s an internal practice, where a constant the time of day. As to what spread she prefers dialogue is being carried out, not only in the on toast, it’s avocado. Like the rest of the world’s studio but during everyday life; an example population she confirms that Yoncé acts as her being when hanging out the washing either ‘go to’ inspiration and motivational tool. Lemonade from a front or top loader or spreading avocado the visual album, am I right? on toast in the kitchen whilst half asleep.

By Ana Music

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Over this coffee appointment Natalie smiles an arresting smile and makes me spit my coffee when blatantly stating that when acquiring an injury in her career as a developing, successful and ever-morphing being, it made her smarter but not necessarily better. Personally, I think this slogan should be printed on T-shirts with the Nike tick strewn across it. Ignorance is bliss. Knowledge requires consideration, understanding, acceptance, hurt, and a prolonged amount of time for healing. ‘I don’t like patience’ she confesses, shaking her head.

The sensations of movement and explorative muscle memory are still awake and humming.

It is a shame that the electronic aspect can sometimes put a barrier around the human self as an exterior appliance.

When asked to elaborate on what comes to mind when moving, and whether or not this sense of in-depth connection that is formed through dance is lacking in today’s society where iPhones are our closest companions, the metallic surface forever felt in our indie pockets and sweaty palms, Natalie replies with the edited following:

Automatically we associate this unrealistic expectation as the expected benchmark in which to aim and surpass. This is not the case and yet we cannot help but think this as human beings.

Additional pressure is also placed on not only dance students, but any being engaging in a competitive field, as we are exposed to all capabilities, possibilities and opportunities through the interweb, including the anatomical physiques that defy nature.

However, it’s also great being exposed to this easily accessible information and visual proof, as we are able to make a decision on whether or Dance is so human, inclusive and not we want this pathway. exclusive. You smell, see, touch and hear.

You internalize and draw from previous Did you ever hold a strict goal or plan in regards experiences and sensations, seeking new to your career pathway? pathways, experimenting, and making mistakes.

“Yes, and it was an epic fail.”

You never stop working; it is an intangible physical practice. It cannot be bottled up and I squint my eyes, tilt my head and reply. ‘Well, sold and it fuels the people that are engaged was it really?’ with it, contributing abundantly to our culture and the arts.

She guesses not. It’s curious that the human brain constructs this Hollywood billboard where Dance is not just this external visual your life goals will be displayed under twitching representation that is before you to look lights, and then when reality isn’t exactly how

“

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”

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By Ana Music this image was formed and envisaged, it’s considered a ‘fail’ to you.

I guess it’s doing yourself a disservice to think in this light. Although, it is also simple logic to set this benchmark for yourself and if it isn’t ticked off like a systematic shopping list you may as well forever consider your dreams and aims to be unfulfilled.

How dramatic, how absurd, how humorously relatable to the mentality of the majority of artists forming their practice.

Hashtags that materialized from this chat: #shit!15min+ #prolongedpoison #KerenRosenbergbodydouble #nikesmarternotbetter

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Credits roll at Piccadilly Cinemas

By Elisha Hammond

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magine this: It’s March of 1938, the weather still hot and dry on Australia’s Western coast as the state begins to crawl out of the devastating depression of the early thirties. People meander through Perth, ice creams and children’s sticky palms in tow, stopping to admire the city’s latest attraction: the Piccadilly Arcade.

It’s a grand addition to Hay Street, and today is the opening day of its crowning jewel.

The Piccadilly Theatre stands out proudly amongst the bustle, winging the entrance to the arcade with grandeur and grace.

It boasts fashionable art-deco interior and furnishings, the most modern technologies, and the icing on the cake: state-of-the-art air-conditioning.

Flash forward to 2013, late September and a perfect spring. But it’s the last days at Piccadilly, the cinema poised for curtain call after the school holidays come to an end.

Back in its glory days, the Piccadilly used to be one of the city’s best assets, the talk of the town. So what happened between then and now that initiated the theatre’s fall from grace?

It seems that most of the demise originates from financial problems, which in turn lead to refurbishment troubles. March of 2010 saw the arrival of one of Perth’s biggest storms, bringing with it a plethora of damage to the theatre that resulted in its temporary closing.

In May of the same year it was alleged that the roof of the cinema collapsed twice on different days during customer-attended

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screenings. Other problems ranging from asbestos to faulty gutters continued to pester the cinema, both resulting from a tiny renovation budget and adding to the cinemas massive debt- a vicious cycle.

In spite of the current problems facing the old theatre, its historic value cannot be understated. The Piccadilly opened on the 10th of March in 1938, just as Western Australia was approaching the end of the depression.

It was a prominent feature of the Piccadilly Arcade on Hay Street, which opened earlier in February of the same year. A project initiated by mining magnate Claude de Bernales. The arcade and theatre was such a big hit because of its beautiful art deco design and functionalist style.

The refurbishment of 1984 persevered to continue this fashion, a dedication that won architect Ian Tucker the 1986 Architecture Design Award for Renovated Buildings.

And if the rich history couldn’t get any juicier, apparently the cinema has a spooky past of its own, with claims that a resident ghost has yet to abandon the derelict cinema. “I can tell you that there is a ghost.

Several people saw it but it was harmless if not a little creepy,” says Chris Simmons, a former projectionist at the cinema.

“Apparently some years ago a customer was locked in and in the dark fell down the stairs and was found dead in the morning.”

A small glimmer of hope seemed to be on the horizon in February, this year when Mellen Events came to the council with

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Piccadilly Cinema in Piccadilly Arcade. Picture by Rob Chandler grand plans to renovate the fallen cinema.

Proposing to chip in 3.5 million to help the struggling Piccadilly, the company asked for a 1.7 million sponsorship deal from the council to offset costs. “The potential to refurbish that venue and bring it back to its original glory is there,” said Event Promoter Brad Mellen.

Alas, it appears darker days are in store for the cinema; ultimately the council decided not to provide the publicly funded fiscal resources as the Piccadilly is a privately owned business.

Unable to make ends meet on the project, it seems that Mellen Events has no choice but to drop the plans for a potential renovation.

listed building.

It’s disappointing that the Piccadilly’s destiny isn’t fit to match its grand legacy, the very last cinema complex to serve Perth’s CBD. But even as a question mark hovers over future plans for the space, one thing is certain: the 75 years of film provided by the theatre meant a lot to the people of Perth, a fact that cannot be understated.

Even as the council’s decision leaves the cinema’s future up in the air, nothing stops us from looking back on its rich history.

Because, who knows, if the focus was on the Four years after its closing, the Piccadilly Piccadilly’s contribution to the city initially, Theatre still stands little chance of getting back maybe its destiny would be a more fitting one. to its former glory, tragic news for a heritage

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Fate and Destiny in Classical Greek Drama

By Andrew Douglas

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ost of us are aware of Sophocles classic Greek tragedy King Oedipus. In this drama an oracle predicts his destiny: that he will kill his father, usurp his throne and then marry his own mother. Understandably, he flees his home to avoid this terrible fate. But in so doing, he ends up unwittingly fulfilling it. Perhaps, this is fatalism at its worst, where the protagonist brings tragedy upon his entire family. The central character cannot avoid his pre-ordained destiny, regardless of how horrendous the consequences.

Fate and destiny were the dominant themes of classical Greek drama. Originally conceived as works to honour the Olympian gods in tributes, at annual festivals, these dramas gradually became fashioned into distinctive works of art. While only a fraction of these original works survive, there are enough to reveal the general traits of this medium in terms of its themes and characters.

The earliest plays date from the fifth century B.C. and deals with trials and tribulations of mortals not ordinary mortals but heroes, members of the ruling elite and even the offspring of gods. As they set about their various ordeals, the characters may encounter all manner of creatures including gods, ghosts and various other supernatural beings. While usually quite fearsome, these beings are not always malevolent. They can just as easily assist the hero to fulfil their destiny without fatal consequences.

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The issues and conflicts of the protagonists are played out within the context of a family, usually a royal family. What these dramas highlight is that family loyalty is often conflictual and that these conflicts are part and parcel of a preordained destiny. Mortals - even very privileged ones - cannot escape the fate that is predetermined for them. If an oracle decrees that such and such will happen to any person, it will.

The central characters of these dramas have to grapple with all sorts of issues such as treachery, infidelity, military defeat and murder. Undoubtedly, modern society is more complex and diverse than ancient Hellenic culture. However, many of the themes such as revenge and retribution explored in these ancient dramas have a timeless appeal.

Characters caught up in revenge killings can become part of an endless cycle of an ‘eye-for-aneye’ divine justice where each killing needs to be avenged by another.

The complexities of familial justice and revenge are explored in an early trilogy by Aeschylus. It deals with the struggle of Orestes the son of Agamemnon, a hero of the Trojan war. His mother conspires with her lover to murder his father. Her motive for this killing is her husband’s sacrifice of their daughter to the gods in return for favourable conditions regarding the Trojan war. This deed forces him to exact revenge on her. But this act of retribution arouses the instruments of fate who relentlessly pursue him. Ultimately, Orestes is assisted by various supernatural beings as the moral complexities of filial justice and revenge are explored.

The hero’s fate does not always result in their demise; sometimes the gods intervene to protect the hero as in the case of Euripides’ drama Iphigenia in Taurus where the goddess Athena emerges to protect the heroine. The gods are obliged to act since they too are the agents of destiny. Like the heroes and the offspring of the gods, they are subject to the dictates of fate. These divine beings, together with the mortal heroes are in the service of fate and assist the heroes of classic Greek drama to achieve their pre-ordained destiny.

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Pull the Trigger

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By Tristan Sherlock

onash University is the first university, in Australia, to implement a trigger warning policy in their course outlines.

The pilot program currently has 15 of the University’s course outlines with a warning in place, which alerts students to content that is potentially emotionally distressing.

to prepare themselves for the course material and choose their own level of exposure to the traumatic subject. Monash has been clear that they have no plans to change any course content in relation to material that may cause traumatic distress.

“We’re not suggesting that students shouldn’t be faced with challenges during their uni experiences.

Monash is not the first university in the world to We’re not suggesting that they shouldn’t be faced implement trigger warnings. Several universities with difficult, discomforting topics at all. But this will in the U.S and U.K (such as The London School allow students who do have a response, whether that of Economics) have trigger warnings in place to be an anxiety attack or a panic attack based on any protect students who have suffered traumatic previous traumatic experiences, to be able to prepare experiences, or those who do not wish to confront themselves and take responsibility for their actions the subjects for other reasons. and manage those responses.”

The program at Monash has also asked academics to review the course content in search of “emotionally confronting material.” Sexual assault, abuse, animal cruelty, suicide, abortion, hate speech are among several topics that can be considered a trigger and therefore will have a warning in place.

However, many people believe that this is an act of sugar coating students in relation to challenging course content.

Newcastle University Associate Professor Marguerite Johnson has spoken out against the new policy, “The world is emotionally distressing and I find it quite absurd that the universities may see themselves as the guardians of emotionally distressing situations.”

For those who don’t know, a trigger is a term used in psychological instances to indicate when something, such as a word, a phrase or even an action can potentially cause emotional distress.

Others have raised critiques, claiming it would Take for example a loud noise for those who suffer sensitize students and could lead to censorship from war related PTSD. on all texts.

One of the major societal issues related with triggers is that the word itself has been appropriated into slang language, by certain sectors of society, in order to demean those who are vocal about being offended by something that has been said in conversation.

Johnson further stated that she feared that certain courses would be cut from the syllabus for being too potentially traumatic.

Despite the critiques towards the new policy, Monash is adamant that it will make no attempt to prevent students in engaging with ideas that In implementing trigger warnings into unit plans, may be distressing and that the course material Monash has hopes that this will allow for students will remain the same and examinable.

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lap!

By Tristan Sherlock

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orporal punishment is a largely controversial topic. Some parents believe that slapping their child is an acceptable form of punishment, while others do not.

A popular argument against the use of corporal punishment is that it can have negative effects on children.

A study released in 2002 by Elizabeth Gershoff, found that physical punishment had various negative consequences such as, but not limited to, lowered levels of moral internalisation, aggression and poorer mental health.

The validity of Gershoff’s study was questioned by several other researchers, one of whom claimed that it didn’t separate children who had been subjected to milder forms of corporal punishment (smacking) from children who had experienced serious physical abuse.

Gershoff continued her research with experts from the University of Texas and the University of Michigan. A study they recently conducted looked at over 160,000 children, from over five generations. It found that children who were slapped by their parents exhibited the same symptoms of those who’d been in abusive relationships, just to a lesser extent.

The researchers found that the more these children were spanked the more likely they were to exhibit anti-social behaviours, heightened aggression, mental health issues and cognitive problems. The study also found that children who were spanked were just as likely to defy their parents as they were obey.

The researchers on the study claim that theirs is the most complete analysis of spanking as a form of punishment to date. They also identified that this study is more specific to spanking than other studies, which include other forms of physical punishment.

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What research says about the impact of corporal punishment on children.

“The upshot of the study is that spanking increases the likelihood of a wide variety of undesired outcomes for children,” says Andrew Grogan-Kaylor, Gershoff’s co-author. “Spanking thus does the opposite of what parents usually want it to do.”

Another study conducted in 2013 by Dr Bernadette Saunders, who is a senior lecturer in Social Work at Monash Univeristy attempted to look at corporal punishment from the point of view of victims.

Saunders found that from a child’s perspective, corporal punishment hurts and promotes many negative emotions such as anger. It was also found to teach children that violence was to be used as a tool in problem solving. Additionally the study also discovered that corporal punishment disrupted the relationship between parent and child by creating a sense of vulnerability in the child.

Futhermore, Saunders a found that children who had been the victims of corporal punishment believed that it was a normal life experience.

The children from the study expressed that they wished their parents would communicate more clearly and consistently when punishing them.

Despite years of research into the negative effects of corporal punishment, it is still a commonly used form of punishment. According to a UNICEF report around 80 percent of parents across the globe use spanking as a means of punishment.

In Australia corporal punishment is still a legal practise. No state has made it entirely illegal to punish children with corporal punishment. Although, most states have very strict requirements and laws regarding the definition of corporal punishment . In the Northern Territory, it is legal for teachers to apply force on students for discipline or correction. In Western Australia and Queensland, it is also legal for non-government school to use force on students.

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It’s just, a little

Rush!

Aimee Minchington

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s we grow up we are conditioned to think that we must have it all together, that we should know what we want to do with our lives by the time we finish our final year of high school.

There is so much pressure on young people today, not only to complete high school but, also to attend university. Unfortunately, with university fees increasing, the option of university is not always a possibility for some young people.

Throughout most of our high school years we find the importance of deciding on a future career or study pathway to be increasingly emphasised by teachers. Parents tend to add to this stress by telling their kids they need to attend university to ensure they get a good job, so they can become financially comfortable in life.

The excessive focus on higher education and the need to be financially stable through life often scares young people and ultimately effects their focus in school and general life. The unnecessary stress can have not only a negative impact on students’ education but can also impact their mental health.

What a lot of young people forget is that they have time, each of us have a life we are destined to live. For some of us it is not as long as others, so why would you want to spend it stressing, studying something you were rushed into, or working in a job that you don’t enjoy doing?

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They say that if you love what you do, you will never really work a day in your life.

I feel it is more important to take the time in choosing something that feels right for you, than it is just getting into university or the workforce as fast as possible. This way you will surely find your passion and ideally find a career that excites you and allows you to grow.

For me, I had no idea what I wanted to do during high school. I came up with a list of things I was passionate about and wanted to do with my life and eventually explored them all. I wanted to be a hairdresser, a chef, a child care worker, even a singer, but although these things are passions of mine, nothing really felt right.

Unfortunately, another contributing factor in a students’ hesitation to university, is family history. Not one single person in my family has ever attended university and for some young people that can be a major deterrent, as they feel like they just aren’t smart enough or aren’t destined for anything great.

I was in year 11 when I left school at 16. It wasn’t until I was 22 that I decided to take the leap and enrol in a uni prep course. I had been out of school for about five and half years and had completed many certificate 3 courses and worked low income jobs such as McDonalds and cleaning motel rooms. So naturally I was very scared about starting university because it was something I never thought I could do.

I had got it stuck in my head, that if I didn’t pass, maybe I just wasn’t right for university.

After stressing about it and putting myself down I got my results back. Lo and behold, I passed!

Around the time I had enrolled into the uni prep course I had also happened to create a website and started a blog. After much thought, I decided that I would take my passion for writing to new heights by studying it at university. With the support of friends and family, I enrolled into my Bachelor of Media and Communication, majoring in journalism and well… Here I am.

You will be better off using the time that you would normally stress about what’s in your future, to simply be in the present. You have time to figure “Life” out so relax.

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By Zachary Sheridan

Jeffrey

Jay Fowler is a playwright, actor and director. Some of his notable works include FAG/STAG, Elephents and The One. This year Jeffrey is directing The Eisteddfod

by Lally Katz in the Studio Underground from June 22 – July 9. Jeffrey and I had a chat about Lally Katz, what makes Perth exciting and Bali.

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Why do you think this is a work that needs to be put on now?

It’s an excellent work that WA has never seen and it has incredible comic but also eternally important ideas underneath it – it’s not set in any time or place. It’s very bizarre and it’s about the imagination, and the corruption of the imagination, and cycles of violence and familial violence… It was a big success for Lally early in her career and you can see she really found her voice with this work.

Why are you attracted to the way Lally Katz writes?

Lally Katz does it her own way. There’s a big sense of ‘fuck what I’m meant to do’ … A lot of people who auditioned for The Eisteddfod were really confused by it, they’d ask ‘what is this play?’

And that’s because she doesn’t try to fall into line with tradition. The swerves of the storyline are incredibly unpredictable and it takes a lot of confidence to do that.

My friend Amelia loves Lally Katz. I asked her why, and she said that Katz ‘makes white-haired folk watch something other than Chekhov and love it.’ Can you speak to that?

Sure. The first work of hers I saw was the Apocalypse Bear Trilogy and I remember having a few ‘what the fuck?’ moments watching it. At the same time Lally Katz is regularly programmed on the main stages around Australia. She’s someone who knows how to charm both sides of the audience – which is not an easy thing to do.

At The Last Great Hunt you make a lot of original work – can you tell me about the process of directing someone else’s work?

Every project I approach completely differently no matter what I do – whether I’m working as a director, actor, writer or dramaturg. When I approach someone else’s work it really depends on that someone – is it Shakespeare? Noel Coward?

There’s no set of rules when approaching a play but you have to consider what you’re trying to get to the audience, what experience you’re creating, and what people will leave the theatre with.

The Eisteddfod is a play I’ve wanted to do for years since first reading it and laughing out loud. From here, it’s about reading it with the actors and

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getting on the same page with what we want to manifest. And you also want a shining star – this one thought – to follow throughout the process.

I think this play will get the audience laughing but also challenge them with ideas about what we inherit from our parents, and I don’t mean financially but emotionally. What happens if you come from a problematic background, how do you as a person become a healthy adult? The play is an opportunity for people to build empathy – I know that sounds super wanky – but this play goes, ‘Ok. We all grow up with shit, we all grow up with damage to the imagination, with dreams that get crushed.’ And then meditating on that is a great offer to help people empathise with each other.

I should say I haven’t made the play. At this point it’s a cloud of ideas and hopes.

What else have you got planned for 2017?

The Last Great Hunt has a few shows coming up – there’s The Irresistible with Side Pony Productions, and another piece I’m acting in being directed by Gita Bezard. Chris Isaacs and I are also going to Edinburgh with FAG/STAG, and then when we come back we’re doing a piece called Bali about how Australians act on holiday and how privilege works. It’s with the same character from FAG/ STAG – it picks up with their life three years on.

What excites you about theatre and arts in Perth?

In a time when so much culture is produced overseas or digitally, I think there is something that is so great about work that is made in and special to Perth with a Perth audience. Theatre is about the live-ness of turning up and, rather than watching something on the couch, you’re watching this amongst 20 or 200 people at the same time – and that communal event is really important.

Especially afterwards when you can talk about it in the bar – you have a conversation starter with every single person in that room. The focus and thought that theatre demands allows it to be more powerful than something on YouTube you might watch half of and then switch off.

Finally, your favourite song to tear up the d-floor with?

‘Dancing On My Own’ by Robyn. I love something that you can sing along to, feel a little bit sad about, and also break your body to.

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“Wandering is my arrival. Departing is my residence.” from Descendants of the Eunuch Admiral by Kuo Pao Kun

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his quote comes from the late Kuo Pao Kun, known as the father of Singaporean theatre and a pioneer of Mandarin theatre, who also co-founded the Intercultural Theatre Institute (ITI) in 2000. I was lucky enough to spend a term studying there earlier this year. In 1976 Pao Kun was detained without trial for four and a half years by the Singaporean government on charges of ‘antigovernment activities.’

For the rest of his life, Pao Kun worked tirelessly in establishing performing arts schools across the country as well as his plays written in English and Mandarin that worked to bring a country together that had been, and continues to be, divided along ethnic lines. He was honoured later in his life with a Cultural Medallion by the very government which had earlier detained him.

Kun worked towards throughout his life are evident in all the training at ITI: of compassion and interculturalism, of collaboration and openmindedness. ITI is a small building. It’s simply four studios behind a large white building at the top of Emily Hill near the suburb of Little India but what happens everyday there is incredible.

At ITI students from all over the world undertake three years of full-time training in intercultural acting, merging the traditional theatre forms of Noh, Wayang Wong, Beijing Opera, and Kuttiyattam, with contemporary acting technique, yoga, tai chi and philosophy and cultural studies.

It is an amazing blend of traditional forms that have an incredible lineage and history and the creation of self-devised contemporary works that speak to the world students experience and inhabit.

I wanted to speak first about Kuo Pao Kun Along with four other WAAPA students because the values and generosity of spirit Pao I undertook eight weeks of study in the 16 / FEATURE

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traditional Japanese theatre form of Noh under thought about the months I spent on Warlpiri country in central Australia; how the mud the instruction of our Senseis: Yoshimasa under my grandmother’s feet at Auschwitz had Kanze and Kuwata Takashi. become this vibrant, red dirt I now walked on barefoot.

Noh is an ancient form of dance-drama that combines elaborate costumes, masks, a chorus, ITI taught me to never reduce complexity. minimalistic staging and traditional storyIdentity is complicated and created at the telling. In a world obsessed with speed and intersections of different crossroads and that is efficiency, Noh taught me about space and wonderful. stillness on stage and in life, the discipline and rigour required of artists and the power of It is to be celebrated and made into poetry and gesture. theatre and music and works of art. Or maybe to be sung from the tops of rooftops or to have During my time at ITI I thought a lot about hours of conversations and cups of tea with culture and language and identity, and all of people you know nothing about. this in the context of the performing arts.

As the daughter of Hungarian-French-Jewish immigrants to Australia, who worked very much to integrate/assimilate into an Australian ‘way of life’; I thought about all the people, places and languages that have shaped me, my sense of identity, my personal ‘culture’ and how I navigate my way through this complicated, at times messy and yet beautiful world.

I am so grateful to the support of WAAPA and the Australian Government’s New Colombo Plan for making this exchange happen.

What a gift it was to listen to others’ stories, to create theatre in this nurturing yet excitingly radical environment of cultural collaboration, and to realise that culture is created every single day in the simple interactions between I thought about growing up on Ngunnawal and people. Culture and language shift and change.

Ngambri country in Canberra and the glorious snow gums that covered the mountains I spent It is a creature with many heads and limbs all searching in different directions and it is up to my childhood clambering over. us, artists and non-artists alike to gently guide I thought about my parents’ decision to come this creature along all kinds of journeys. to Australia and this dive into the unknown that so many have done and continue to do,

By Noemie Huttner-Koros both in Australia and all around the world. I

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Different Afterlives Judaism:

Islam:

Jewish afterlife is called Olam Ha-Ba (The World to Come). Traditional Judaism beliefs focus primarily on the here and now. There’s not much dogma about the afterlife in Judaism, leaving a lot of room for personal opinion.

Some Orthodox Jews believe in an after life where the soul goes to a place like (Christian) heaven. Others believe in resurrection and reincarnation. The souls of those deemed wicked are tormented or destroyed at death.

Muslims believe that once a person dies their soul sleeps in their grave until the ‘Last Day’ when the world is destroyed. Upon this day, the dead are resurrected by God to face his judgment. Those who did good deeds in life and were faithful to God will be admitted into Paradise (a place of splendor and pleasure, where there is no hunger, sickness or old age).

Those who have been defiant and acted evil will be sentenced to hell. The level of torment that the person receives will equal to how evil that person was in life.

Buddhism: Buddhists believe that life is a cycle of death and rebirth called Samsara. Once you’ve passed away, your energy is transferred into another form. The actions you undertake in each life depend on how you will be reborn in the next, this is known as Karma. The good actions you do in one life can allow you to gain a better future. You can be rebirthed into many things such as animals, ghosts, gods, demi-gods and humans. As a human you have the opportunity to work towards escaping the cycle of Samsara, where you will achieve Nirvana. Once Buddhists achieve Nirvana they are able to realise the true reality of the world.

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Shinto: In the Shinto religion there is the belief that everything has a spiritual energy or essence called ‘Kami’. Kami is released and recycled upon death. Sacred spirits go to a world called “the other world of heaven”, other spirits reside in other worlds that are not seen as a paradise or punishment/hell. When religious rituals and festivals are held the spirits are able to travel to the present world. Spirits are said to be able to look after and protect their descendants.

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ETERNAL DESTINIES Karina Miyazaki

T

he future is full of unknowns. The concept of destiny dictates what will be but our society often embeds the idea that a happy ending is something to achieve. A childhood of Disney movies and their fairy tale endings spell it out: if you are true and goodhearted and simply believe, a happy ending is on its way, no matter how bleak everything may look now.

It’s a nice thought, that’s for sure. Destiny is coming along to fix all your problems and you’ll get the happy ending you deserve! You just need to believe. When you’re a child it’s not completely implausible but growing up of course ruins everything. It’s easy to want to rebel against the idea, because you ought to make your own choices, not follow a pre-set path. Happy endings aren’t real anyway.

When thinking about it though, we’re better off without happy endings. They’re nice in theory but horrifying in reality, because a happy ending means that everything abruptly ends. There’s no time for Cinderella to enjoy a life free from her stepmother and stepsisters. There is no Cinderella as a benevolent queen or a loving mother and wife, feeling the struggles that must come with transitioning from a servant girl to royalty. Cinderella is finally free as she wished, but her tale is done and there is no more.

Real life obviously doesn’t do this. The credits

don’t begin rolling when you reach your primary goal, because life continues. There’s a new goal, a new destiny in store. Stories do have to end somewhere, but that’s fiction. In reality, time marches on. There are new experiences to have, new people to meet, new goals to achieve. There are infinite destinies. Even after you meet your one true love or get that job you always dreamed of, there’s always more. There could be children, a job promotion or a million other things that you’d like to do one day.

Death is inevitable and it seems that’s where the story should end, but an imprint is left behind – you could be remembered as a loving friend or family, even as that random on the train with the cool shirt. Destinies are what will come to be, which is easily influenced. Perhaps you’ve inspired someone to go out and buy the same cool shirt. You leave behind a legacy.

Growing older, it’s hard not to look at happy endings without cynicism – and rightfully so.

Don’t dream of a happy ending, dream of a happy life. It’s yours to decide and there’s always more to strive for, because the sky is the limit.

Destinies are what will be and that’s impossible to know due to all the factors involved. But remember, there isn’t a singular future in store for you, but many, and it’s your choice.

The possibilities are endless.

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A moment with...

Brendan Ritchie

Brendan Ritchie is a Fremantle based writer who’s debut novel, Carousel, was awarded a PHD in Creative Writing. I had the opportunity to speak with Brendan, to talk about all things Destiny and the art of writing.

The theme of Dircksey for this edition is Destiny.

What is your interpretation of destiny as a concept? Do you think destiny played any part in your success as an author?

I have a complicated relationship with destiny. As an artist, I like to think that success is as much about hard work and commitment, as it is anything else. Writing a novel is such a grind that it simply can’t eventuate without these things.

Has your creative process changed in any way since you’ve been realised as a successful author?

Not a great deal. I guess I’m much more aware of the realities of publishing in terms of readerships and marketing. I also have a confidence in my ability to finish larger pieces that I definitely didn’t have previously. But, in the end, I still find myself at my desk, listening to the same kinds of music, occasionally scrawling down a few notes, but mostly just typing away trying to figure out where the heck the story is headed.

That said, exactly what a novelist writes, and when, is something that often feels a lot more fateful.

I had a solid list of ideas for my first novel, but found myself sideswiped by the very random concept of a pair of famous musicians trapped in a shopping centre. This idea planted itself in my mind during a Death Cab for Cutie gig that I could have easily missed, then became the basis for my first novel, Carousel. The novel was published by Fremantle Press at a time when dystopian YA was popular, but you got the sense that readers were keen to find something different. Four strangers trapped inside Westfield Carousel kind of delivered on that. I often wonder whether my other ideas would have cut through in this way.

What kind of methods, if any, did you find particularly helpful when writing your published novels, or any you may be working on?

In general I find it really helpful to build and maintain momentum when I’m writing my novels.

I try to write every day and hit a word target. Some days these words aren’t exactly brilliant, but I figure that at least I’m keeping myself in the world of the story, and the lives of the characters. I hate the idea of being paralysed by trying to create the perfect sentence.

Of course, a lot of this depends on what’s going on in the rest of your life. I started a new manuscript over the summer that I’m really excited about, but haven’t really been able to look at since the semester started.

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In relation to you becoming an author who was your biggest support? And what did it mean to have that support?

I was fortunate enough to find an amazing teacher in Marcella Polain during my time as a undergraduate and postgraduate student. Marcella always seemed to believe that I could write when there wasn’t really a lot of evidence that this was true. Eventually I started to believe her enough to at least attempt a novel. Without that support and belief, it’s doubtful that I would have published anything.

What do you have planned for the future and how will you go about achieving it?

Hopefully just to continue writing original novels that readers find a little different to some of the other books they’re reading. For me this is mostly about listening to my creative instincts and seeing each project through to completion.

By Tristan Sherlock

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ECU Perthonalities Interviews by Zachary Sheridan / Photography by Marshall Stay @MarshallArts (on Facebook)

Gage I’m an exchange student from America – Kentucky specifically. Since the age of 12 I’ve wanted to be a filmmaker, ever since I saw Ed Wood… I love at the moment all the different perspectives being explored in film, and I’ve started asking myself what’s my position as a straight, white male? And so I’ve been playing with ideas revolving around masculinity and privilege – I should also say I’m a liberal. I voted for Hilary in the election, if that means anything… In America the two major political parties are such polar opposites, I’m interested in exploring that tension in the middle. I think it’s important to always find people from the other side of the aisle, who are on a different track from you, and ask them their view on things. It’s always a learning experience even if you disagree with them.

Maxine

Haylee

I’m doing a Bachelor of Contemporary Arts majoring in Fashion. It’s my first year. I’ve grown up in a very creative family and my mum works within the fashion industry so I’ve always been surrounded by it. I just think it’s a really cool medium to explore creatively.

And designing is probably the area I’m most interested in. I like quirky and delicate but also practical things with lots of attention to detail – my favourite fashion house is Chloé in France. If I had any advice to give to others – and I know it sounds cliché – but I would say do what you love and trust your own instincts.

Having said that, I haven’t had any discouragement in exploring fashion, but I like to do my own thing anyway so I probably would’ve taken my own advice.

I study a Bachelor of Performing Arts majoring in Performance Making. I love theatre as a medium in translating emotions and feelings, and that, as makers, we have complete control over how we do that. And this course gives you the opportunity to be the person who conceptualises everything… The past two years I’ve lived in India, studying with people from 70 different countries, sharing cultures… and I also saw some really messed up theatre and so I’ve been inspired by that…

One of the coolest things people can do is externalise the internal stuff that makes them individual and make creative shit together. I think what excites me most about the future is connecting with other people in this course, at WAAPA, and basically anyone who is passionate and creative.

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The RISE of

SNEAKER CULTURE

Hitting the Art Gallery of Western Australia from the 13th of May to the 4th of September is the popular ‘The Rise of Sneaker Culture’ exhibtion. The exhition is the first of its kind, exploring the relationship between society, culture and footware. I had the pleasure of speaking to Curator of Contemporary Design and International Art at AGWA, Robert Cook, to learn more about the ‘rise’ and history of sneakers.

By Holly Ferguson

H

ow did the Art Gallery of Western Australia become involved in The Rise of Sneaker Culture exhibition (it’s been in several other galleries)?

We’re the only Australian venue, to receive the exhibition. That was negotiated by our director Dr Stefano Carboni he’s well connected with the Metropolitan Museum in New York and he has good colleagues in the American Federation of the arts, so he was offered the show and thought it would be a good fit for us. It made sense in terms of our general programming; we have a strong commitment to contemporary and historical design here, so it made sense to show the most democratic art and design form of the 20th century, which would be sneakers. It also follows on from the first of our shows under this new sub brand called ‘Culture Juice’, where we look at aspects of popular culture. (Following this show there will be one about Heath Ledger).

it’s the only Australian venue so people have to come to Perth instead of Perth people having to go elsewhere.

Can you elaborate more on what Lee Ingram’s role as ‘Sneaker Head in Residence’ is?

He’s loaned us a large amount of his collection for the show and he’s written very detailed labels about every shoe. He’s also loaned us a bunch of sneakers that will be made into a ‘sneakerliere’, which will be a ten-meter high sneaker chandelier. He’ll also be giving talks throughout the show as well as sitting on a panel for us. He’s the local expert, so we run ideas and decisions by him.

How do you see the relationship between this exhibition and the Perth audience?

In Perth we have some of the most committed collectors in the world. One of them is Lee Ingram who is our sneaker head in residence.

We’re showing a range of Lee’s collection, we have a collaboration with Highs and Lows and a bunch of other individual collectors.

There’s a really strong sneaker culture here, it’s interestingly constructed because when you’re in Perth things are hard to get. Highs and Lows changed a lot about that but there’s still not a lot of outlets that the other cities and countries have.

There’s a sense here of sneakers always being a little bit unattainable therefore, maybe, more important. So it’s quite nice and semi ironic that 22 / ARTS & LITERATURE / CREATIVE

Stewie Griffin Lebron VI Nike, 2009 What can we expect to see in the exhibition?

First they’ll see 160 examples of different sneakers, many of them are pairs. They’ll see the history of sneakers, the first one is from 1839. One part of the sneaker’s history is the technological development like how vulcanised rubber shifted things and defined what a sneaker was giving it softness and flexibility. The

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exhibition talks about the casualisation of the sneaker and fashion now, especially in men’s wear. You see the cultures that we’ve all grown up in reflected through sneakers but in a weird way it’s not just about sneakers it’s about the culture around it. There’s a De La Soul collaboration and that’s as much about Hip-Hop’s incorporation into that culture than specifically sneakers.

So what constitutes a sneaker?

I think it’s the use of rubber. Its flexibility and its original purpose was to be used in some sort of sporting activity. Now they make leisure wear sneakers but if you pretty much look at any sneaker, even if it might not be made for sport, you can trace its lineage back. So if you’re looking at the Y-3 Adidas Yohij Yamamoto collaboration you can see that they connect back to the running shoe silhouette and structure; which is more padding on the heel and less on the forefoot. So sneakers are always connected to a sport in some way.

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more refined.

How do you perceive the sneaker’s relationship in relation to pop culture?

Sneakers have been the way that many people engage with pop culture. So if you like a particular type of music you might wear the particular type of sneaker that expresses your allegiance to it. Hip-Hop is full of people wearing basketball boots, if you’re listening to shoe gaze music you might wear Converse, if you’re a skater you’ll be wearing Vans. Sneakers offer you the position to be vicariously engaged, kind of like wearing the scarf of your football team.

It kind of defines you in a particular way and you can incorporate you relationship to pop culture on your body. The kind of shoes you wear also structure how you move, they allow you to physically respond to pop culture so that’s why they’re important beyond the idea of signifying connection.

What have been some of the most iconic moments in the sneakers evolution?

There’s so many of them! I think the Nike Jordans are key because a whole lot of the sneakerhead culture comes from that moment.

Michael Jordan was an iconic sports star who’s rebellious attitude allowed for people to identify with him through the shoe. There’s also the Puma Clyde, which was really important for break dancing. There’s the Adidas Stan Smith, which is a minimalist fashion item. I think what the thing is that all of these moments relate back to particular sub cultures in some way.

Everything in the show is iconic for different reasons and for different people.

What’s the context behind the first sneaker?

The first running shoe actually looks like a dress shoe, it’s mostly leather but with a different sole and with spikes. The history of it is customizing existing shoes, mostly dress shoes, and turning it into sport shoes. Which is interesting because sports were something that the upper to middle classes were doing so it does come with a particular leisure culture. So it’s interesting that the shoe comes out of that higher income bracket and then from that semi elitist beginning it becomes more democratic. The shoe has become more refined and sports have become

All Star/Non Skid Converse Rubber Shoe Company, 1923 Where do you see the future of sneakers going?

We’ve just had the minimalist movement like with Common Projects and Stan Smiths. There’s also been the Flyknits from Nike, which are ultra light giving a sock-type feel. We’ve gone through the Kanye Yeezys and Rick Owens structured sneakers. And we’ve gone through the Retro with the New Balances nodding to the 70s. So in terms of the future it’s really interesting, maybe it will be less looking backwards and more looking forwards. It will probably be that the distinction between dress shoes and sneakers will be more shifted, there could be a hybrid between a dress shoe, boot and sneaker. So as people shift in their careers will be able to wear things that easily are transferable.

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In honour of the upcoming Eurovision Song Contest, I decided to compile some the most iconic fashion moments from Eurovisons past.

Dana International Israel 1998

Dana International, the Eurovision’s first transgender contestant and winner, put on a spectacular display of fashion with this parrot-inspired jacket.

Verka Serduchka Ukraine 2007

(It’s not a surprise that the drag acts turn the best looks) Personally, I’m waiting for Verka to be the theme of the met gala.

This is the embodiment of disco ball pilot imo.

Jedward Ireland 2011 &2012

Some say that ABBA is the best act to ever grace the Eurovision stage... I say, have you seen Jedward? This smashing duo not only turn the best performances but the best accompanying looks!

Sestre Slovenia 2002

Again, another fab drag act! Aviation seems to be a running theme in Eurovision. Not everyone can pull it of, but in these sparkling red costumes this trio serves up the ulitmate Jetset Elaganza!

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Book Reviews

DIRCKSEY

Play the Devil Scott Laudati, 2016 At first Play the Devil seems like every other white boy-esque coming-of-age story and while it kind of is in some aspects, in others it is so much more.

Scott Laudati’s debut novel is simply poetic.

Play the Devil is a story that is written with such vivid imagination and prowess it is near impossible to put down. It’s clear to see that every word was thoroughly thought out. Scott Laudati has zero hesitations in allowing his characters to be complex and problematic, and therefore realistic — it’s quite refreshing to read. The story is largely set over 24 hours, the first day of Londi’s new job as a pool boy. The story dwells deep into the lives of the working class and the routines that they face to make ends meet. Play the Devil is a brilliant, comedic, adventure served with a lot of truth.

By Tristan Sherlock The Immortal Rules Julie Kagawa, 2012 The Immortal Rules by Julie Kagawa starts out as any young adult, post-apocalyptic novel: vampires, ‘rabids’ and a totalitarian regime that the protagonist rebels against. Allison, the main character, lives as a homeless scavenger, preferring to steal what she needs rather than having to live as ‘blood cattle’ to the vampires who run her city. After she happens to becomes a vampire, she finds herself far away from her city and in the company of highly religious pilgrims, searching for ‘Eden’ an island rumoured to be free from vampire control. This novel looks at religion, destiny, sacrifice, morality and trust, all while testing how far people can go until they become monsters. However, for a novel published in 2012 it’s disappointing to see the absence of the LGBT+ community. Despite this, this novel sucks the reader in, taking them on an emotional rollercoaster.

By Clare Varcoe

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In Cold Blood Truman Capote, 1965 50 years since its publication, In Cold Blood is still a standout true crime novel that is both captivating and devastating. Written about the murder of the Clutter family, Capote sets the reader up to get to know the victims of the murder, their backgrounds and their days leading up to the unforseen murder.

You are then lead on the journey that the two murderers take together, and are left wondering what is going to happen to them, and what on earth led them to commit such a vicious murder in the first place. Not only that, but Capote writes the non-fiction book in a compelling, novel-form, which at times, leads one to forget that what you are reading is actually a true crime that happened to true people. For many true-crime fanatics, this is the book that started it all.

By Leighton Campbell Suck Less Willam Belli, 2016 For those who know Drag super star, Willam Belli, the unapologetic raunchiness, foulness and truthfulness of this book, will not surprise you. For those who don’t know Willam, I HIGHLY recommend doing your research prior to endeavouring to read this book (start with his Beatdown’s on YouTube). Suck Less has it ALL; every facet of life from romance, drugs to interior decorating is included in very precise detail. His advice, all though at times illegal, will be beneficial at some point in your life; like leaving your husband, which should be done whilst wearing a lace front human hair wig and holding a Nutri-bullet. This is NOT a book you should loan to your parents, unless they’re super cool with in depth descriptions douching. Overall this is probably the best (and only) self-help book I’ve ever read. P.S I detracted half a star bc there weren’t enough pics of his dog Warner (R.I.P). By Holly Ferguson ARTS & LITERATURE / 25

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The Gorillaz return:

By Harvie Taylor t’s been seven years since the Gorillaz released ‘The Fall’. During this time it was suspected that the hit group wouldn’t return to music. However, before everything went completely quiet, a few small leaks of unknown visuals began to pop up. Fans didn’t know what to expect, would it be a return tour? A new album? A single? Little did they know it would be all of the above.

the charts.

As the mainstream music scene started to become overcrowded with Ed Sheeran and co, the Gorillaz climbed from their long cold ashes with an album that brought back sounds from the early 2000s and some much needed new ones.

In total the album has 26 songs adding up to just over an hour and 9 minutes. Though this album is long awaited for, it’s sad to say it isn’t the gem the world has yearned for.

I

A surprise single, which followed shortly after Donald Trumps’ inauguration, “Hallelujah Money”, criticized the current state of the world and people’s capitalist obsessions. The naughties sound made it seem as though it was a message from seven years ago, criticizing the current world.

The impact of this song was heavily felt on the music scene and the hype spiraled to insane levels.

After teasing an album for almost six months (since December 2016), on the 27th of April (2017) the new Gorillaz album finally dropped.

And not to anyone’s surprise, shot straight into 26 / MUSIC 26 / FILM

‘Humanz’ is weird and all over the place. The album is strung with messages criticizing the state of the world, with the interludes introuducing these themes. “The Nonconformist Oath” critiques the idea of nonconformity, by featuring a speaker encouraging a large group of people to take the oath to not conform, by conforming.

It’s undoubtedly different, with some amazing hits but it isn’t up to the quality of their past music such as ‘Demon days’. One tragedy of the album is the lack of its memorable songs.

In the past Gorillaz were known for their unequivocally unique sound, its disheartening to see this album end up so generic.

It’s understandable why it did so well, it slots into the modern market easily, lacking any substance.

After all the hype that Gorillaz fans had for the album, it’s clear to see why they were disappointed. Now that Gorillaz are back on the scene we can only hope that they will continue to release more music, hopefully something more memorable will turn up.

Music Reviews

DIRCKSEY

Murder to the mind Tash Sultana, 2017 Murder to the Mind is a new single from the one and only, Tash Sultana. It’s hard to be ready for what will come from the mind of Tash. Her voice is haunting and carries the song beautifully.

The simple beat and reinforcing background sounds don’t distract from her master crafted vocals. The song itself in the case of tone is close to that of her EP “Notation”. It’s soft yet haunting, relaxing yet holds an air of intensity, each word leaves you hanging for the next.

If you have no idea who ‘Tash Sultana’ is, she is an Australia born singer songwriter with a voice similar to that of modernized Amy Winehouse, with higher tones and a stronger pitch control.

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A Suitable Girl Ali Barter, 2017 Ali Barter’s debut album is just one fine example of how rock solid Australian female artists are at the moment. A Suitable Girl traces tales of female troubles against chill rocky tunes.

Relatable lyrics of feeling silly or ignored in a relationship, to the stress of pressures that society places on fellow ladies stand out in songs such as Cigarette and Girlie Bits. Overall, Barter delivers a decent debut album that leaves me excited to see what she can deliver next.

By Leighton Campbell

This single is worth every second.

By Harvie Taylor III Foster The People, 2017 From the guys who made Pumped Up Kicks we have a new three song EP. Straight away with the first song ‘Pay the Man’ you can hear they are going for something new. It’s not totally unique but there is some good stuff, mainly that of the vocals, which give a good push to the song. ‘Doing it for the Money’ made a short round on the radio, it uses a lot of the same sounds that are currently popular. It’s not exactly a good song, it just lacks any form or excitement or reason to keep listening. The final song of the album ‘SHC’ feels great. It’s unique in the current music scene - everything from the vocal style to the baselines are entrancing.

Each song in this EP is completely different, it feels like an experiment with different styles.

But undoubtedly the best-made song has to be ‘SHC’ everything in it is tightly made, sounds great and new.

By Harvie Taylor

A Seat at the Table Solange, 2016 This Emmy award winning album released last year by Solange is easily one of the highlights of 2016. From start to finish, A Seat at the Table tells a story through music of the struggle of African Americans from past to present. It is a beautifully presented album, with soulful and relaxing tunes that simultaneously tell a powerful and moving narrative. The record features snippets of interviews from Solange’s mother and father that perfectly summarise the story that is being told. The mellow sounds along with Solange’s gorgeous voice makes this album one to put on repeat at any occasion.

By Leighton Campbell

Have an EP, CD or Single coming out? Send it to us at: editors@ecuguild.org.au

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Help us write..

Robots from

Outer Space Over the next few issues Dircksey will be writing a film.

It’s my job to start, and from there the journey this narrative takes will be entirely up to you. The aim is to turn it into a short film at year’s end. What do you want to see in a film? What is the most ultimate film ever?

So...

What happens next? You decide! Email the next chapter of the story to editors@ecuguild.org.au and keep an eye out for instalments online.

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ROBOTS FROM OUTER SPACE SHOOTING SCRIPT Written by Dircksey 1. EXT. ROBOT MANOR. AFTERNOON. It is the year 2020 - the far distant future. The robots have finally risen. However, all is not as hunky dory as the robots envisioned.

2. INT. ROBOT KITCHEN. AFTERNOON. MAC is busy doing his robot dishes - various nuts and bolts and electronics. MAC sighs to himself.

MAC This isn’t the revolution I fought for.

At this point a magnet flies from the fridge and lands on MAC’s body.

MAC Not again!

MAC begins to shut down. He sounds a bit like a Dalek when he is in crisis.

MAC Shutting down. Shutting down.

At this point PHILIP enters the room. PHILIP rushes to help MAC. PHILIP No, MAC! Philip tears the magnet from MAC’s body.

MAC Thank you, Philip. You have always been there for me.

PHILIP Mac, you have to take better care of yourself.

MAC I know, I just don’t feel well. I thought things would be different after the robot uprising. But I feel unfulfilled and weak. Magnets still bring me down. And I still can’t find love because I don’t have a heart.

PHILIP Maybe we should take this to the boss.

First instalment by Zacahary Sheridan FILM / 29

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The Last Jedi teaser and the future of Star Wars

By Christopher Spencer

O

n the 14th of April, we got our first and longawaited look at Star Wars: The Last Jedi. In a short, 2-minute teaser which resembles the structure of the original The Force Awakens teaser from 2014, fans got to see where our beloved characters are going in this 8th episode of the Star Wars saga. It doesn’t show much though, only short glimpses. We see the of the faces of Rey, Finn, Poe Dameron and Kylo Ren. As well as gorgeous cinematography of Skellig Michael, space battles, air battles, and the Force in action.

The reactions online have been expectedly enthusiastic from many fans, though it has its detractors. Some on Twitter and YouTube have expressed disappointment that the teaser’s brief content of mainly location shots and ambiguous voiceover from Luke Skywalker isn’t enough to give an idea of what The Last Jedi is about.

This teaser is just that; a teaser. The official trailers will come and give us more, but for now, we can see what kind of film The Last Jedi will at least look like.

Just like The Force Awakens’ first teaser, we got an idea of how J.J. Abrams will tackle Star Wars; with fresh visual ideas and high energy. The Last Jedi’s teaser does the same for showing what director Rian Johnson is doing with the franchise.

The narration by Luke (still shrouded in shadow, even though we know what Mark Hamill looks like in these new movies now) suggests that the ideas of the light side and the dark side, the Jedi and Sith will be broken down, and balance will be made by the destruction of both. We are expected to see a new way to have the Force presented on screen, as a power of both sides, not biased to either one.

With just a few lines of voice-over, Rian Johnson sets up a promise for fans that this movie will do something different, something ambitious, a way to make these new movies feel necessary, instead of pale rethreads of what we’ve already seen. The Force

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Awakens was a great reintroduction for audiences to this universe as it should be seen, a stepping stone for a greater new universe. Hopefully Rian Johnson can deliver on that vision of new narrative territory.

But even though this writer is intensely excited for this ambitious, new take on his favourite franchise, I do worry about the greater audience out there. This is an audience that completely accepted The Force Awakens into their minds to the tune of $2 billion worldwide, but a negative response quickly formed when some realised its formulaic similarities to Episode IV: A New Hope.

What if the new ideas and plot points of The Last Jedi are too ambitious for people to swallow. Many are already coming up with rather stupid fan theories about Yoda sitting on a rock in the teaser, or Supreme Leader Snoke being Mace Windu, or Luke being cloned from his fallen hand, or Rey being the reincarnation of the Emperor. Fans can have theories to things, it is their right. But with Star Wars, those theories become expectations, and when those expectations are not met to specificity, then a backlash occurs.

Personally, I expect The Last Jedi to be a different journey for the Star Wars saga, to tread a new path for the future, and delve deeper into the psychology that is at the heart of these movies.

That is what I have seen with director Rian Johnson’s previous works of 2012’s Looper or the Breaking Bad episodes “Fly” and “Ozymandias”. I hope the fans that suggest ridiculous theories keep an open mind and let the vision of the filmmakers play out. If they do not like that because it doesn’t appeal to them, fine.

But no-one should dispose of a movie just because it wasn’t exactly what you wanted beat-for-beat.

Hell, everyone who worked on the original Star Wars in 1977 thought it was going to be B-movie trash, forgotten in a month. How wrong some can be…

Film Reviews

DIRCKSEY

One More Time with Feeling

Andrew Dominik, 2016

ISSUE 3: DESTINY

It’s a Wonderful Life Frank Capra, 1946

When I think of destiny, I can’t go past It’s a Wonderful Life. Frank Capra’s 1946 black-and-white classic, concerning the life of George Bailey director Andrew Dominik, but I can honestly (played by the extraordinary James Stewart), say no music/film collaboration has or ever is the film that considers the implications of will strike you where it hurts like One More one person’s existence and the difference they Time with Feeling, released September last make within their world. Also starring Donna year. Filmed in stark black and white just to Reed, Henry Travers, and Lionel Barrymore, sap you of a little more naïve happiness, the It’s a Wonderful Life is an enduring classic that documentary follows Cave’s grief after losing gets better with age, similar to Casablanca or his teenage son, and how Cave channeled this The Wizard of Oz, comprising some of the most into his latest record Skeleton Tree. Studio performances are filmed in a similar space memorable and quotable scenes in film history. of empty timelessness – a place where loss is ‘What is it you want, Mary?’ Do you want the known to leave its victims. The film also notes moon? Just say the word and I’ll throw a lasso Cave’s distinctive jump from early post-punk, around it and pull it down.’ Born out of WWII, narrative-driven holler numbers to the ambient the film does emphasise the wonderful things train-of-thought catharses that comprise the about life – family, friendship, love. Perhaps new record. “Real life isn’t like that” Cave this is something the viewer can hold onto elaborates when asked. All he can do is ponder. amidst modern crises.

By Connor Armenti

By Zachary Sheridan Guardians of the Galaxy Ghost in the Shell Vol. 2 Rupert Sanders, 2017 James Gunn, 2017 This isn’t the first collaboration between Bad Seeds front man Nick Cave and

Using what made its predecessor seem new and engaging — the witty, problematic, selfcentred, yet loveable characters (combined with some iconic tunes) — Guardians of the Galaxy Vol. 2, doesn’t quite live up to Volume 1. Volume 2 attempts to step up from the characterisation of it predecessor. Only, most of the characters, specifically Rocket, Groot and Gamora, are benched for the film, getting little-to-no character arc. Every character’s potential for deep and interesting on screen development is either simply pushed aside or given away to Starlord. This is kind of a downer considering every other character is so unique and Starlord is basically an asshole Luke Skywalker. Despite some flaws, Guardians of the Galaxy does come with some pretty good morals. Any film that tells its audience that the family you choose is more important than the one you’re born into deserves a good ol’ pat on the back. By Tristan Sherlock

Ghost in the Shell, a remake of the 1995 anime classic, stars Scarlett Johansson as a woman with a human brain (ghost) inside a synthetic, cybernetic body (shell). The world embraces cybernetic enhancement, but did I embrace this cyber-movie? No. Like Johansson’s character, the shell is visually dazzling, but little humanity or warmth lies underneath.

Ghost in the Shell is dull and heavy-handed, never feeling like a truly exceptional piece of sci-fi, just throwing out mostly-decent visuals and good cinematography without context or competent structure. The movie has decent performances from Johansson, Pilou Asbæk and Takeshi Kitano, but the script doesn’t have enough weight to give their characters any purpose in any scene. In the end, Ghost in the Shell pales in comparison to the beloved franchise before, and lacks originality and energy. By Christopher Spencer

Watched a movie recently? Send us your thoughts at: editors@ecuguild.org.au