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Opinion
Let’s get Sirius By Jessica Hill Sydney has a history of destroying its heritage. We’ve seen a number of important and iconic buildings demolished to make way for newer, modern development. Tales of the structures that once stood proudly along Sydney’s streets filled my childhood. More often than not, these stories included a struggle between government, developers and the Sydney community. They also featured passionate people who fought to preserve Sydney’s heritage against demolition and redevelopment. Juanita Neilson was one such person. Her campaign against the development of Victoria Street in Kings Cross was made infamous after her disappearance and suspected murder in 1975. No one knows exactly what happened to Neilson, the suspects in the case are no longer living, but her anti-development campaign is widely considered to be the motive for her disappearance. Her story has become a metaphor for the destruction of heritage and the redevelopment in Sydney. A little more than a decade on, just months before I was born, the Regent Theatre was torn down. It was located on George Street and hosted frequent, popular performances. When the owners of the building announced they were going to sell, the site was slated to be demolished. There was a huge, public outcry. In response, the Minister for Planning and Local Government at the time placed the theatre on the Register of the National Estate* in a bid to save the building. The construction unions also showed their support and blacklisted the site in an attempt to protect it. In 1988, the building was demolished despite its heritage listing. A change of government opened the way for the approval of redevelopment and a court decision lifted the permanent conservation order on the site. All that’s left to remind us of the Regent Theatre is the building next door, which is now home to fast food chain KFC.
Sydney is facing a similar dilemma today and this time the NSW Government isn’t playing the hero. In 2014, the Baird Government announced the Sirius building would be sold. Everyone knows the Sirius building, or at least anyone who has crossed the Harbour Bridge in the last forty years. It sits on prime real estate in The Rocks and is a focal point on the Sydney Harbour skyline. No matter your opinion on whether it should be knocked down, the consensus is, it’s iconic. Sirius was designed by architect Tao Gofers and completed in 1980. It’s a prime example of the brutalist architecture movement which emerged out of the modernist era in the 1950s and 1960s. The buildings constructed in this period are strong, bold and graphic, and sometimes imposing. Sirius is one of the few examples left in Sydney. Del Kathryn Barton, former Archibald winner, told 702 ABC Sydney: “The demolition of the Sirius building would be a cultural tragedy.” She also explained people around the world are celebrating brutalist architecture, not knocking it down. The Save Our Sirius Foundation (SOS) was born out of the decision to sell off and demolish the building. SOS has seen heavy weight support, including the National Trust, Sydney Lord Mayor Clover Moore and the Australian Institute of Architects. Shaun Carter, who is the NSW Chapter President of the Australia Institute of Architects, also chairs the Foundation. Unions NSW and the Construction, Forestry, Mining and Energy Union have placed a Green Ban on the building. Jack Mundey who fought against the redevelopment of The Rocks in the 1970s, and was instrumental in the construction of Sirius, endorses this ban. They also have strong community backing from the Millers Point Residents Action Group; Friends of Millers Point; and Millers Point Public Housing Tenants Group. In 2016, the NSW Heritage Council
The Sirius building is to be sold off and demolished despite community uproar. Credit: Michael Lu
unanimously recommended the building be put on the State Heritage Register. This was denied by former NSW Heritage Minister, Mark Speakman. Next month, the SOS foundation will take the state Government to court in an attempt to overturn the decision to exclude Sirius from the State Heritage Register. We’re seeing a major shift in government policy since the attempt to save the Regent Theatre in the 1980s. Rather than listen to the Sydney community, the Government has put its bank balance before the city’s heritage. Mr Speakman said the estimated $70 million from the sale of Sirius would generate necessary income to reinvest in community housing. He also said this money is more important than the preservation of the building. No one can argue against the necessity of investing more money into the communityhousing sector, but there’s still a strong case for the preservation of a culturally significant building. Is it too much to ask for both? SOS is working on alternative development designs to present to the NSW Government. These would allow for the preservation and refurbishment of the building and still deliver on the government’s financial aims. Earlier this month architects CplusC also proposed a redevelopment plan that would save the original
building from destruction. It’s important to remember we’re not just talking about a building. The decision made by the NSW government also had a resounding effect on the community. This is the same community Sirius was built to protect and rehouse after they were displaced by the redevelopment of The Rocks 40 years ago. All but one tenant of the Sirius building has been relocated. Myra Demetrious, who is 90 and legally blind, remains in the building in protest. Sirius architect, Tao Gofers has called for more inclusive social housing in response to the potential destruction of Sirius. He wants homes provided in the city rather than a policy of segregation, which pushes people like Ms Demetrious out into the suburbs. Sirius is important. For architectural enthusiasts it’s a rare example of Sydney’s brutalist design. For many Sydney-siders it’s an iconic landmark. And for people like Ms Demetrious, it’s home. But in the eyes of the NSW Government, it’s an uncashed cheque. If it’s too late to save Sydney’s heritage, and history, let this at least be a lesson in how we treat some of our most vulnerable people. * The Register of the National Estate was closed in 2007 and replaced by the Australian National Heritage List and the Commonwealth Heritage List.
Newtown bucks a violent trend Published weekly and freely available Sydney-wide. Copies are also distributed to serviced apartments, hotels, convenience stores and newsagents throughout the city. Distribution enquiries call 9212 5677. Published by Altmedia Pty Ltd. While every effort is made to ensure accuracy of content, takes no responsibility for inadvertent errors or omissions. ABN 52 600 903 348 Group Publisher: Lawrence Gibbons Group Editor: Jessica Hill, Stephanie Tiller Contributors: Jessica Hill, Stephanie Tiller, Andrew Woodhouse, Georgia Clark, Nina Kempster, Lucas Baird, Tallulah Thompson and Dylan Crismale Arts Editors: Jamie Apps Advertising Managers: Mark Barnes, Karl Krticka Cover Photo: Supplied by John Pilger Designer: Nadia Kalinitcheva Advertising: sales@altmedia.net.au Mail: PO Box 843 Broadway 2007 Email: news@altmedia.net.au, arts@altmedia.net.au Ph: 9212 5677 Fax: 9212 5633 Website: altmedia.net.au
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BY LUCAS BAIRD A report carried out by the Bureau of Crime Statistics and Research (BOCSAR) shows violence has increased in areas not covered by Sydney’s Lockout Laws. The BOSCAR report shows areas including Newtown, Coogee, Bondi, and Double Bay have experienced a rise in violence of up to 17 percent. However, Newtown Greens MP, Jenny Leong, says the reported assault numbers for Newtown had remained stable. “While the latest BOCSAR statistics on assaults seem to confirm the community’s concern that the imposition of the Sydney CBD and Kings Cross lockouts would push violence and anti-social behaviour to nearby suburbs, the specific stats for Newtown are showing that reported assaults have remained stable,” she said. Liz Yeo, CEO of the Newtown Neighbourhood Centre also said violence had remained stable. “We’ve consistently had the police on The Roundtable and they’ve consistently said that alcohol fuelled violence has remained stable,”Ms Yeo said. Ms Leong has praised the efforts of community-led initiatives like The Roundtable, in tackling violence within the community. “There are smarter ways to address community safety concerns than blanket lockouts,” she said. “The Greens will continue to advocate for targeted solutions that address the issues of alcohol-induced violence, problem venues and aggressive, offensive behaviour.”
Jenny Leong has claimed that blanket lockout laws will not solve displaced violence throughout the city, but “targeted, community-led” initiatives could. Credit: J Bar
Ms Leong said The Newtown Roundtable is at the centre of community led changes. The Roundtable was formed in 2015 and includes Ms Leong, Newtown Neighbourhood Centre, Newtown Business Association, NSW Police, Newtown Liquor Accord and the Inner West and Sydney Councils. Ms Yeo said the Roundtable had done all it could to protect the ‘vibe’ from alcohol fuelled violence. She did agree there were many who felt Newtown had become less safe and that the ‘vibe’ is under threat. Ms Leong said this was why The Roundtable was needed. “People have again told us that Newtown
is a welcoming place where diversity is accepted, but that the welcoming vibe is under threat. There are reports of a change of mood on the streets and aggressive behaviour,” she said. “Overwhelmingly, locals want Newtown to be a place that is friendly and open to visitors, but emphasise that we want everyone on our streets and in our venues to act respectfully. “For 18 months our locally-led committee [the Roundtable] has responded to the challenges faced by our local community. We don’t claim to have solved all the issues, but we have responded to concerns and collaborated to minimise the impacts and changes in our area.” city hub 16 MARCH 2017
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Hindu community smoking mad Leon Fernandes holds his controversial artwork ‘Krishna in Erskineville’ in his Newtown studio. Credit: Georgia Clark
By Georgia Clark Angry members of the Hindu community have taken their campaign against an artwork depicting Lord Krishna holding a meth pipe to Sydney Lord Mayor Clover Moore. The President of the Universal Hindu Society, Rajan Zed, sent an email to Lord Mayor Clover after running a petition against the artwork last week. Mr Zed said in a statement that the exhibition “trivialized the [sic] Hinduism’s highly revered deity Lord Krishna.” A City of Sydney spokesperson said the council doesn’t have authority to disallow the exhibition. “The City of Sydney has no authority to control the content of exhibitions in private galleries,” she said. The artist behind the work, Leon
Fernandes, described the artwork as a selfportrait that expresses his identity as an Australian artist from Indian descent and a former methamphetamine user. Mr Fernandes recognises that artwork is controversial. “I’m unashamedly sacrilegious in my art. Not only towards Hinduism, but towards other religions as well,” he said. “I’m a controversial person so if I’m going to be authentic it’s going to be controversial.” Prasanth Ramkumar, Founder and Former President of the University of Sydney Hindu Society, said he hasn’t spoken to a single Hindu who isn’t offended by the artwork. “Krishna is worshipped by billions and the form is quite important it’s a point of worship, of meditation as well… we question
the motives of the artist in portraying [Lord Krishna] in this way,” he said. Mr Fernandes said he hoped the artwork would take the stigma away from methamphetamine use and labelled the calls to disallow the artwork an infringement on free speech. “The way ice is depicted isn’t representative of most ice users and my use has spanned from enjoyable to mediocre to terrible… I don’t want to advertise use of drugs but i certainly want to change the tone of conversation,” he said. Tamara Winikoff, Executive Director of the National Association for the Visual Arts, said the artwork isn’t illegal. “NAVA takes the position that unless art is breaking the law then there shouldn’t be any constraints on the work or the artist in producing the work. “In this case, I can’t see that it is going to be breaking the law in any way,” she said. While the Hindu community has taken offence to the artwork, Mr Ramkumar said disallowing the artwork would be a step too far. “Sensitivities of the community are not a valid reason not to pursue art,” he said. The artwork is selling for around $520.00 at an exhibition at East Sydney Doctors set to run until March 20. Gordon R. Carmichael, Curator of the ESD Gallery, said Fernandes’s work has been selling every day since the exhibition opened. “By the time it gets discussed and debated, the show will be over. They’ve left it a little too late and I don’t think we’re going to pull it down based on an email to Clover Moore,” he said.
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Opinion
Sydney Council’s veil of secrecy By Andrew Woodhouse Sydney City Council should start revealing itself. There - I’ve blown a new thought bubble. I want live streaming of council meetings via its own TV channel. When do I want it? Now! More exposure is a frightening thought in many ways, but is necessary for four reasons:
1. It will reveal the truth. I know this is a novel concept. But
it will show how the cogs, sprockets, chains and pulleys of democracy work to affect our neighbourhoods; 2. It will expose how council is callow. It will shine a halogen torch into its dark, musty, cobwebbed recesses to see if council really is, “open, honest, transparent and connected”; 3. It will drag our council into the 20th century and then further drag it into the 21st century, and; 4. Think how beautiful it would be to sit down at night, watch the news, check on the latest church Royal Commission scandal or drug haul arrest after a long day’s work and then flick over to channel SydC and see what’s happening at town hall between 5pm and midnight. View DA decision-making live and see how new policies are decided in our favour. Check out what the pollies are posing and postulating about. By-pass fake news and see it live, all without lifting more than the remote. No more accumulating background papers. No more leaving my lounge-room cocoon in the wet and dark, waiting for transport and sitting for up to five hours listening to tendentious twaddle to make a two-minute submission. Yes, this is what we want, what we deserve and what we’re waiting for. I am not Dr Martin Luther King Jr, but I’ve had a dream. I’ve seen the television lights and live streaming of council meetings and decisions cascading down upon us like the waters of Babylon, through every hill and valley of righteousness, refreshing our city and souls with beauty, pleasure and delight. Then I wake up. I remember this is not a novel idea, it’s all been promised before.
Residents are still waiting for City of Sydney council meeting’s to be broadcast live Credit: Mark Lynch
Former Councillor and an Honorary Life Member of the Australian Computer Society, Edward Mandla, who actually knows about this high-tech, gadget, widget-driven new world order, sees no technical issues. Neither do I, and I was born BC, that is, Before Computers. Mr Mandla says, “Webcasting allows people who cannot physically attend Council meetings to follow proceedings and it promotes open transparency and democracy.” True. After all, aren’t we meant to be “globally connected?” He drove a council resolution to work towards streaming committee and council proceedings, all via the Internet. Two
subsequent questions on notice were placed and responded to with reassuring utterances that the matter was being dealt with, but it was clear the city was stalling. In July 2014, he introduced a motion to have council meetings webcast within 60 days. So Clover Moore moved a recession motion to block webcasting using her casting vote. After three years, the result so far is nothing but a state of stasis. Z-I-L-C-H. Councillor Craig Chung, also familiar with the phrase “business acumen”, said live streaming boosts confidence in council’s and shows ratepayers “how the sausage is made,” encouraging wider democratic participation. He thinks too many decisions appear to be made in Clover Moore’s office. Mr Chung suggests if people really saw how decisions are made they’d be appalled. He said Ms Moore doesn’t want people involved, she wants her subjects to come before her genuflecting at her throne. “People are busy at 2pm on Mondays at work, running a small business, dealing with family. “Other global cities such as New York, London, Los Angeles and New Orleans all have live streaming, as does every Australian state government,” Mr Chung said. I agree: council’s closed door approach is so last century and passé. Ms Moore cites cost and privacy as concerns, but let’s face it, we’re under constant CCTV surveillance almost everywhere now. Seeing me yawning in the background is not going to worry me, although viewers may be amused. She also claims, spuriously, there is no community support for this piece of pro-democracy. However, I have never even been asked. So I’m asking you this: many other local councils enjoy broadcasts, so why can’t we? Let’s face it, council is the best free show, or is that opera, in town. My new council TV channel concept could even win a “Best Local Drama” Logie and attract big fee-paying ads, a real money-spinner. More lights, camera, action!
Andrew Woodhouse is President, Potts Point & Kings Cross Heritage & Residents’ Society
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Randwick Mayor moves to extend booze ban at beach By Tallulah Thompson & Dylan Crismale Randwick City Council has extended a temporary ban on alcohol at Coogee Beach until later this month. Randwick Mayor, Noel D’Souza, used his executive powers on March 1 to keep the ban in place after the Summer period. Councilors will decide if the ban should be permanent at a Council meeting on March 28. Mr D’Souza said, “It’s going to be permanent. We’re still going to vote on it, but at this stage there is a very good chance it’ll be permanent.” Deputy Mayor, Brendan Roberts and two Randwick City Councillors, Harry Stavrinos and Anthony Andrews, said the community should be consulted before a final decision is made. “If we’re going to make such a dramatic change in our social regulations, then you can’t just impose it on the community without community consultation,” said Mr Roberts. On March 1, the three councillors lodged a successful rescission motion and overturned the majority vote to permanently ban alcohol at Coogee Beach. Their actions were undone by Mr D’Souza less than 24 hours later. Mr D’Souza said he acted within section 226 of the Local Government Act 1993, which states, “in cases of necessity”, the Mayor can exercise policymaking functions of the council between meetings. The initial ban was enforced after a backpacker party on Christmas Day 2016, left 13 tonnes of rubbish on the shores of Coogee Beach.
A vote at the next Randwick City Council meeting will determine the fate of a temporary alcohol ban on Coogee Beach. Credit: Didi Jeans
Rona Wade, Secretary of community group, Coogee Precinct, said prior to this event many residents had expressed concern about alcohol and public safety at Coogee reserves. “On weekend afternoons and public holidays, Goldstein reserve was an unregulated beer garden. Locals and visitors alike no longer felt safe being in the area at those times,” she said. Visitors were permitted to consume alcohol at Dunningham and Goldstein reserves in the
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afternoon, some of the last areas in Sydney where it was legal to drink by the beach. “It appears that, that little window of opportunity we gave residents to drink between the hours of 12pm and 4pm was abused by some. “We’ve been speaking to other stakeholders like the police and lifeguards, and the residents, of course - they wanted an alcohol ban so they could enjoy the reserves in a safe environment,” Mr D’Souza said.
Local resident, Gerald De Los Santos, says community members have not been adequately consulted over the extended alcohol ban. “I feel like everyone needs a say. It’s not right that they’re taking the matter into their own hands. “I think it’s a knee-jerk reaction from the council and it’s punishing the majority of the people who are doing the right thing,” he said. Mr De Los Santos was at one of the Coogee reserves on Christmas Day 2016 and said he was aware of the littering laws and walked a block away to find empty bins. “If we want to prevent anything happening here again I feel that from the moment they come into Coogee or the Randwick City Council area, there should be clear signs [outlining the law],” he said. In an email to Mr D’Souza, Ms Wade of the Coogee Precinct, expressed support for the extended alcohol ban. “We elect our Councillors to represent our collective interests and to work on behalf of the community and a large part of that is public safety. “I can only assume those Councillors who signed the rescission motion and who are advocating consultation know nothing of what happened on Christmas Day or any weekend afternoon for the past few years. “If they had, they would not have taken the action they have,” she said. Mr Roberts said he will continue to fight for more community consultation on the issue when council meets on March 28.
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PUBLIC NOTICE
Australia’s First
The Bays Market District, Aboriginal Cultural Heritage Assessment – Invitation to Register an Interest
IndIAn RestAuRAnt
On behalf of Urban Growth, Artefact Heritage is undertaking an Aboriginal cultural heritage assessment of The Bays Market District (Pyrmont and Glebe), in advance of a proposed redevelopment. The proponent’s contact details are: Tim Hutchinson, UrbanGrowth NSW, Level 12, MLC Centre/19 Martin Place, Sydney NSW 2000. We are inviting registrations of interest in the project from Aboriginal groups and individuals who hold cultural knowledge relevant to determining the significance of Aboriginal objects and/or places in the locality. The purpose of the community consultation is to assist the proponent in the preparation of an AHIP application for the proposed development of the property, and to assist OEH in determination of the application.
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We Want You! The CiTy hub iS looking for a number of dynamiC volunTeerS To regularly ConTribuTe To our webSiTe and Sydney newSpaper. These roles will involve professionally covering various topics on both the news side and also the arts/entertainment side. As part of our arts/entertainment team the City Hub will open the door for you to cover Sydney’s thriving theatre, music, art and film scenes. You will have the opportunity to conduct interviews and occasionally attend performances as a City Hub representative. This role is a practical internship/contributors position (no coffeeruns for you!) and one in which a number of our current editors have undertaken before rising through the ranks.
This role iS for you: 4 If you relish the opportunity to work in a real news environment 4 If you are passionate about Sydney having an independent local voice 4 If you want on-the-job experience and training for your portfolio 4 If you love talking to interesting people and telling their story succinctly 4 If you are organised and can hit deadlines
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Waterloo tenants speak up BY Stephanie Tiller Community art project ‘We Live Here 2017’ is providing Waterloo public housing tenants with a platform to express how they feel about controversial plans to redevelop their homes. The project will see a light installation at Waterloo’s Matavai and Turanga Towers come to life in July, followed by a documentary in late 2017 capturing the stories of tenants and roll out of the project. Carolina Sorensen, Producer of We Live Here 2017, said the project is designed to enable residents to communicate how they feel about the redevelopment to the outside world. “We feel like the people who live within housing commission are not often given a voice. “There is plenty said about Waterloo and what kind of neighbourhood people think it is but very few people actually speak to the tenants who live there. “For the most part, the people we speak to really enjoy living in the estate, it’s their community,” she said. Ms Sorensen said the documentary will capture a portrait of Waterloo before the area experiences significant change in the coming years. “Whether the changes are for better or worse I guess it’s not really for us to say, but the fact is it will be a completely different place in ten to fifteen years’ time. “We think it’s really important to capture Waterloo as it is now and we thought with the community rolling out this light project and working together to realise it, it would be a great spine for a documentary,” she said. In December 2016, the New South Wales Government announced plans to knock down six public housing towers and hundreds of homes at Waterloo, affecting approximately five thousand public housing tenants. The redevelopment will be carried out over the next 15 to 20 years and will see construction of a new Metro train line, updated social housing and the introduction of private housing on the site. A spokesperson for the Department of Family and Community Services (FACS) said all tenants who wish to remain at the site can return once the project is completed.
Waterloo public housing estate resident, Glenn, is one of the many tenants facing relocation from his home Credit: Otis Burian Hodge
“There are around 60 thousand vulnerable people on the waiting list for social housing in NSW and the redevelopment of the ageing Waterloo estate is integral to the Government’s plan to provide better homes for those in need. “It is anticipated the vast majority of social housing residents will never have to leave the estate as they will simply be relocated from their old dwelling to a new one as it is completed on site,” they said. Geoff Turnbull, Spokesperson for community group REDWatch, said uncertainty surrounding the relocation of tenants is causing tension within the community. “When they announced the redevelopment they didn’t tell people until 2016 they were putting back the date of the first resident relocations. “Relocations have now been put back until the middle of 2018, so with no other details on the table the only thing people know for certain
is that at some point they’re going to have to move out of their house. “All that does is increase people’s anxiety because their main thought is what’s going to happen to me and how am I going to be impacted by this, so it’s a huge implication for the people that live there,” he said. Ms Sorensen hopes the light installation and documentary will be a catalyst for generating conversation about what it means to move housing commission residents out of the area. “I think there’s a broader conversation that needs to be had because essentially in Sydney poorer communities are getting pushed out of the so called trendy suburbs and there’s such a whitewashing of our inner city areas. “I think we really need to talk about what kind of cities we want to live in. Do we just have to be really rich to live in the city? Is that the kind of place we want to live? Or do we want to live in cities that are equitable, that are
sustainable, that are for everyone irrespective of their socio economic status,” she said. Mr Turnbull said the State Government must change their rhetoric towards tenants of public housing to avoid causing vulnerable communities further distress. “The problem is that government tend to go in and bash the public houso when they want to do a redevelopment and they certainly did that around Millers Point. “So trying to ensure that doesn’t happen through community art projects and engagement with the broader community is important but the other part of it is to help public tenants understand what’s happening and give them a voice in the process,” he said. A spokesperson for FACS said throughout the master-planning process social housing residents and other stakeholders will be engaged and consulted with. “FACS has maintained regular communication with residents and the public, specifically that the redevelopment of Waterloo will improve opportunities for social housing tenants with better transport options, modern housing design, and connection to the rest of Sydney. “We will work with each resident to ascertain their accommodation needs up to six months before their impending move. “Those who are temporarily relocated will have a property matched to their needs and all residents will be given the option to return to Waterloo into one of the new social housing dwellings,” they said. Richard Weeks, Founder of the Waterloo Public Housing Action Group, says the art project has the full support of the public housing tenant community. “What we’ve learnt is that the light installation that We Live Here 2017 is doing is something that tenants want. “There are about four hundred senior citizens and the majority of people in the whole estate are supportive of it because they want to express themselves and how they feel through light. “There’s no other way for them to do it, they can’t speak out or they are told to be quiet or nobody listens to them, some of them are immobile as well, but from their window these colours of light can act as something to help them tell their story,” he said.
MEET the locals
Celebrate the Persian New Year By Jessica Hill I didn’t know much about Persian cuisine before my chat with local restaurant owner, Maryam Azady. I soon discovered a cuisine with a long history, new flavours and lots of options for those who eat gluten free. Maryam has always been passionate about food and was taught to cook by her grandmother and mother. She is extremely proud of the food from her home in Iran. Maryam explained people have been cooking Persian food for more than 3000 years, making the cuisine fundamental to the heritage of Persian people. While Maryam was running a number of retail shops in Darling Harbour during the Sydney Olympics in 2000, she noticed there was a gap in the Sydney restaurant scene. There was hardly anywhere cooking authentic Persian food. “If you visit Europe or the US, Persian is in the top 3 favourite cuisines but in Australia is a very new cuisine,” she explained. Maryam now owns The Persian Room, located in the inner city suburb of Pyrmont. The restaurant sits on the Jones Bay Wharf and has beautiful views of Sydney Harbour. The Persian Room is especially busy during each March year, catering to people who come along to celebrate Nowruz, or Iranian New Year. Nowruz marks the first day of the first month in the Iranian calendar. It also celebrates the beginning of spring in Iran and the rest of Northern Hemisphere. “It’s a celebration of the New Day. When we celebrate our new year it’s all about spring, all about new life,” said Maryam.
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“This amazing culture is big in Canada, it’s big in the US, big in England, big in Paris, big in Italy.” Food is a big part of the celebration of Nowruz. “We eat lots of seafood dishes and vegetarian, and we eat lots of nuts and sweets,” explained Maryam. Maryam pays a lot of attention to the ingredients she puts in the food at The Persian Room. “Every Monday I go to the organic farm and I pick all my organic vegetables,” she explained. Persian food is almost completely gluten free and Maryam has a following of fans that are excited to enjoy a delicious meal without having to worry about becoming unwell. “People travel from all over Australia and New Zealand to come to my restaurant that want gluten free,” she said. Persian food is known for balance of flavour, and mixing sweet and sour together. At The Persian Room you will find some dishes you are familiar with, such as Persian kebab. You may also find something you have never tried before. ‘Most o khiar’ is Persian natural yoghurt with sundried mint, rose petals and fresh cucumber. ‘Kashkebademjan’ is dish made from eggplant that’s smoked for four hours and served with garlic and walnuts. “My restaurant is authentic Persian cuisine, I put so much love and effort into it. If you came to my home you would eat the same food,” said Maryam. The Persian Room is located in Pyrmont on Jones Bay Wharf. For more information visit thepersianroom.com.au or call 9692 9299.
FEATURE
America’s Looming War on China
By Daniel Jaramillo The widespread availability of feature length documentaries on platforms such as Youtube and Netflix has resulted in a resurgence of the genre on both the silver screen and broadcast television. One such upcoming film is This Coming War On China by the award winning journalist and filmmaker, John Pilger. Pilger is an iconic Australian journalist. Growing up in the Sydney suburb of Bondi, he launched his first newspaper while still in high school. After completing a four-year cadetship with the Australian Consolidated Press he left for Europe where he joined Reuters, and then the Daily Mirror. During his role as chief foreign correspondent for the Daily Mirror he covered the Vietnam War. This was an era, where for the first time, images were broadcast straight into the lounge rooms of ordinary people across the globe. It’s clear his experience during this evolution of journalism has influenced his proficiency as a documentary storyteller. Pilger played a part in other iconic moments throughout history. He marched after the assassination of Martin Luther King and he witnessed the assassination of Robert Kennedy in 1968. His coverage in Cambodia in the aftermath of Pol Pot’s reign was a world exclusive. It’s a long list. This year, Pilger is about to release his 60th film for cinema and television. This Coming War On China examines the potential war between China and the U.S.A. It examines the U.S. power struggle in the region, highlighted by the 400 American military bases with warships, missiles and bombers surrounding China. Confrontation between the two countries has continued since the Cold War, although the film seems ever more relevant after President Trump was elected. The film reveals a secret strategy, known as Project 4.1, designed by the U.S. military to use the people on the Marshall Islands as nuclear guinea pigs. In 1954 the U.S. used the Marshall Islands to test hydrogen bombs equivalent to Hiroshima’s every day for 12 years,
John Pilger. Photo: Provided by John Pilger
poisoning the environment with no concern for the local people. Pilger gives an opportunity for the victims and their families to tell their story. China’s rise as the world’s biggest trading nation is an economical threat to the U.S. and America ceases to be the global powerhouse of the 21st century. The film challenges the reporting of this subject by western media. Pilger takes viewers to mainland China where he interviews Liljia Zhang, a Beijing journalist, who is both outspoken about her own country’s internal affairs and also about the way westerners stereotype China and the Chinese people. Growing up during the brutal Cultural Revolution, and then later moving to the U.S, she said, “Many Americans imagine that Chinese people live a miserable, repressed life with no freedom whatsoever. The idea of the yellow peril has never left them… They have no idea there are some 500 million people being lifted out of poverty.” Pilger also interviews Eric Li, a venture capitalist and social scientist from Shanghai, who reflects on the
differences between China and the U.S. Mr. Li said, “I make the joke: in America you can change political parties, but you can’t change the policies. In China you cannot change the party, but you can change policies. The political changes that have taken place in China in the past 66 years have been wider and broader and greater than probably any other major country in living memory.” The Coming War on China’s overall message is America’s power is coming to an end and the rest of the world is turning its attention to the east. China was known as the country of extreme poverty but it’s now becoming known as a powerhouse in its own right. It’s a country that supplies commodities to nearly all of the world’s traders and manufactures. Pilger spoke to the audience of a Q&A after a screening of the film at the Dendy cinema in Newtown. He explained the film is also important for Australia due to our being a part of the geographical and political region. “We know very
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little about the issue because our saturated media and universities refuse to speak about it,” he continued. “In less than a generation China has become the world’s second greatest economic power and that is unacceptable to the U.S.” As much as China is expanding in other regions around the world Pilger made a good point when he said, “there is no evidence to suggest that China wishes to be like the U.S.” Despite it’s importance and relevance The Coming War on China almost wasn’t made due to a lack of finance. Eventually, partial funding from Screen NSW was secured, alongside a successful crowd funding initiative. Screen NSW and our national broadcasters, ABC and SBS, are supporters of independent documentary filmmakers and will continue their commitment this year. The 2018 Documentary Feature Fund commissions feature length documentaries for world premiere at the Sydney Film Festival, followed by broadcast on ABC. “We’re really excited to open submissions for the second year of this initiative and look forward to seeing many strong ideas from New South Wales’ best film making talent,” said Head of ABC Arts, Mandy Chang. Thanks to funds and initiatives like this, Australian filmmakers will continue to have opportunities to explore controversial and important topics. The ability to showcase documentary films on national television is incredibly valuable as it allows for a much wider audience to be exposed to otherwise unheard stories.
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ARTS & ENTERTAINMENT
Virginia Gay
Calamity Jane
The Hayes Theatre is presenting yet another musical classic, Calamity Jane, with a production that needs to face off against a definitive movie version and the indelible image of Doris Day in the lead role. However, in the true spirit of the fearless, rambunctious Jane,Virginia Gay takes that challenge, swings it around her head and whip cracks away. According to director, Richard Carroll, Gay’s portrayal is much closer to the real anarchic, chaotic, unpredictable, yarnspinning Calamity Jane. She’s gritty and “manish”, allowing the play to explore queer
elements in a way the movie could only do subtly. “She wore men’s clothes, she did a lot of activities that were considered male activities…so obviously there are really interesting questions of gender there,” Carroll reflected. There will be a number of devices that will differentiate the show from the movie, including one or two surprises; and it will be intrinsically different simply because that’s the nature of theatre explained Carroll. “There will be elements of cabaret, elements of improv comedy…that’s one of the great things about live entertainment is that you can have a scripted show that can be different every night because of the vibe of the audience.” The director is not phased by the limited space in the Hayes, instead using it to his advantage. He has placed tables and chairs on stage at which audience members will be seated. “When you walk into the theatre you’ll feel like you’re walking into the Golden Garter Saloon. That’s one of the joys of doing a show in such an intimate space as The Hayes.” Dust off your camel-skin, tasseled jacket and head to the Hayes. (RB) Mar 8-Apr 1.The Hayes Theatre, 19 Greenknowe Ave, Potts Point. $55-$68. Tickets & Info: www.hayestheatre.com.au
Stones In His Pockets
Jamie Oxenbould and Sean Hawkins Photo: Robert Catto
A Hollywood film crew comes to a quaint, picturesque Irish village in County Kerry.You only need to visualise that scene and you can probably guess the comic-tragic-romantic-philosophical beats of Stones In His Pockets, a play by Marie Jones being staged at the Riverside Theatre. Set in the 1990s, the play references real social hardships that were affecting society at the time, melding sombreness with boisterous, indifferent humour the way only the Irish can. There are clashes and rivalry between the townsfolk and the film crew and amongst themselves.There is also a teasing romance, tested friendships and, at the midway point, a dark, defining incident that ripples
through the town, touching each character. Though there are sixteen characters, the play is written for only two actors. Director, Chris Bendall insists that having two actors share sixteen roles between them adds to the enjoyment of the show. “They have to change characters in almost a split second and that can be tremendous fun for the audience.” For Bendall there’s also a thrill in the creative challenge of a limited cast. “I love watching an actor pushed to the limit,” he says.That’s not an understatement. Not only do the actors (Grant Cartwright and Sean Hawkins) play characters of different ages and different genders but they are also required to learn several accents. “This is an accent coach’s dream!” Bendall quotes his accent coach as saying. To accommodate rapid changes in scene, the stage set is minimal “Our set designer, Dan Barber, has created a beautiful scenic backdrop…basically it feels like you’re on a film set.There’s a couple of film road cases, some lights, and there’s a few props, and there’s also some director’s chairs.” As for when and where, that’s answered via an Irish 1990s pop music soundtrack (think The Cranberrys). (RB) Mar 18, 2:15pm & 7:30pm. Riverside Theatre, Corner Church and Market St, Parramatta. $28-$52+BF.Tickets & Info: www. riversideparramatta.com.au NB: If this play raises any issue for you, please contact Lifeline on 13 11 14
a&e
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The Unknown Dance In The Neighbourhood This weekend as part of The Japan Foundation’s Breaking The Mould event series a brand new innovative performance piece will make its debut in Sydney. The Unknown Dancer In The Neighbourhood is an artwork which skilfully blends theatre, dance and projection art to weave a compelling drama on stage.Through the powerful movements of a single actor,Wataru Kitao, the play introduces the audience to life in a Japanese suburb on the fringe of a major city. During the day the neighbourhood bustles with people who treat each other indifferently; yet at night, it transforms into a dangerous zone, festering with crime. Written and developed by Tokyo based award winning director and playwright Suguru Yamamoto this is a show which will likely take audiences off guard but mesmerise them simultaneously. As producer Yumina Kato explained,“I’m sure a lot of audience members enter the theatre thinking this is a play written by a playwright, and therefore
everything is based on a script. However, after having seen the performance, a lot of people will think otherwise.Yamamoto successfully merges drama and dance, while Kitao’s movements are so natural it doesn’t look like his performance is choreographed.” (JA) Mar 22-23, 7:30pm. Eternity Playhouse, 39 Burton St, Darlinghurst. FREE. Bookings & Info: www.unknowndancer.eventbrite.com
The Laden Table
A fraught love story, with global issues and political themes told through the prism of personal stories. It carries a message that we are to learn from the lessons of the past and look to the future, and no matter our difference we should treat one another through dignity and respect. The Fishmans are Jewish, and the Ka’adans are Muslim, Mansoor Noor and Jessica Paterson. and there are many things Photo: Suzanne Millar that separate them but the play is about what they have in common. women in the writing team engaging with local Each of the families have arrived in Sydney Jewish and Muslim Palestinian families .The from Jordan, through different reasons and actors have been involved in the development ways; The Fishmans, overshadowed by the of the piece. With 12 in the cast, all culturally Holocaust and the fighting in Israel and the diverse, many of them have geographical and Ka’adans, severely impacted by the Nakba. The cultural links into the area,” explained the play’s talk is ‘dinner table racism’, when you’re among director, Suzanne Millar. family and friends, unguarded, confident about There is a novel ending to The Laden Table, expressing opinions because you assume where “the audience comes and joins us on everyone believes the same things that you do. stage to eat the food. We have to kick them out The two families sit at opposite ends of a an hour later, people have conversations with large dinner table, but at some point the chairs us instead of in the car on the way home,” all get mixed up and they sit amongst one added Millar. (MS) another. They are eating and the table is laden Until Mar 25, various performance times. with wonderful things. Kings Cross Theatre, Level 2, Kings Cross “The Laden Table started as a passion project Hotel, Kings Cross. $25-$35.Tickets & Info: and came out of community collaboration, six www.bakehousetheatrecompany.com.au
Arts Editor: Jamie Apps For more A&E stories go to www.altmedia.net.au and don’t forget to join the conversation on Twitter at @AltMediaSydney
Contributors: Alannah Maher, Alicia Sim, Athina Mallis, Barbara Karpinski, Caitlin Burns, Chantal Walsh, Craig Coventry, Daniel Jaramillo, Emily Shen, Georgia Fullerton, Greg Webster, Irina Dunn, Jade Morellini, James Harkness, Joseph Rana, Leann Richards, Lisa Seltzer, Mark Morellini, Mel Somerville, Olga Azar, Peter Urquhart, Rita Bratovich, Rocio Belinda Mendez, Sarah Pritchard, Shon Ho, Zeiya Speede
Blackrock
Kate Cheel, Lucy Heffernan & Tessa James. Photo: Richard Hedger
Blackrock is an uncompromising, thought provoking production that asks confronting questions about the ways genders communicate with each other in Australia, about our drinking culture and our personal responsibilities in addressing issues of violence and emotional repression. It explores certain male behaviour and the notion that it is more difficult for men to be emotionally vulnerable and expressive and the way that frustration and repression manifests itself in violence. Playwright Nick Enright was inspired by the rape and murder of a young girl Leigh Leigh in 1989, in Stockton, near Newcastle. While
Blackrock is not a factual recreation of this real life event, it follows a similar story. Set around contemporary beach culture with a group of young teenagers and a loud raucous birthday party where lots of alcohol is consumed, Blackrock explores the psychological consequences of the rape/murder on the community. It deals with teenage issues: coming of age sexually, and the ways individual personalities start to develop once teenagers are removed from their parents. “It is so affecting and mirrors an aspect of Australian society and behaviours that seems very familiar to us. It’s controversial, confronting and raw, dealing with unpleasant, morally bereft subject matter. It’s black and shows a side we don’t want to know about, reveals some of the dirty little secrets we prefer not to acknowledge in our happy-golucky culture. It doesn’t shy away from presenting behaviour in full range and it’s magnified because this behaviour is happening amongst teenagers,” explained director, Kim Hardwick. (MS) Mar 9-25.The Reginald Theatre, Seymour Centre, City Rd & Cleveland St, Chippendale. $35-42.Tickets & Info: www.seymourcentre.com or (02) 9351 7940
Live Music Guide LIVE WIRE Sydney By Jamie Apps
Domini Forster: Fast establishing herself as one of Melbourne’s brightest new voices in modern folk Forster is now in the midst of a national tour celebrating the release of her debut album Raven. Thu, Mar 16, Django Bar My Echo: Melbourne’s My Echo had been keeping up a ruthless touring schedule for years. On a steady upwards projectile, the future looked bright until they endured a member leaving and another member falling very ill. Despite this they have stuck together and are set to reclaim their place as a band to watch with this tour. Fri, Mar 17, Brighton Up Bar Murph & Petch: DJ’s and producers Jolyon Petch & Andy Murphy are the creative drive behind this new collaborative project. Having now had some time together working on their music the pair are set to perform in Sydney tomorrow. Fri, Mar 17, Argyle The Three Seas: An astonishing and fresh collaboration created in India’s Rajasthan desert, blending traditional and contemporary musical cultures from India and Australia. The Three Seas combines elements of Indian folk music with a western style of song form and production. Sat, Mar 18, Australian National Maritime Museum Hang Massive: Invented in Switzerland in 2000, the hang is a new-age percussion instrument that is played with the hands to
create a unique and mystical sound. It looks like a cross between a steelpan and a cartoon spaceship! Hang Massive are renowned as global pioneers of hang music thanks to their fusion of the hang sound with a range of electronic styles and genres. Sat, Mar 18,The Basement Bondi Brass: Enjoy fine jazz music and spectacular views of Bondi Beach when Bondi Brass takes to the stage outside the Pavilion. Bondi Brass’ repertoire knows no bounds, from the renaissance dances of Tilman Susato to the music of modern Australian composers such as George Dreyfus, David Stanhope and Barry McKimm. Sun, Mar 19, Bondi Pavillion Theatre Dori Freeman: Is bringing her perfect country voice, languid and pure-toned but with a little Appalachian dust on it, to Sydney early next week. Freeman’s storytelling soaks up the wisdom of more decades than the 25-year-old has been around. Her songs hit you like a train. Mon, Mar 20, Newtown Social Club Little Big Town: The reigning Grammy Country Duo/Group of the Year, and CMA and ACM Vocal Group of the Year, will make their debut Australian visit hot off the heels of extensive North American touring. Little Big Town are set to deliver one of the year’s must-see country music events – Don’t miss it! Tue, Mar 21, Enmore Theatre
MDLSX
If you’ve come across anything in the art world that combines theatre and DJ’ing whilst exploring issues around androgyny and gender identity then maybe you know about MDLSX the hybrid performance by Italian theatre company Motus. If you’re not aware of it then perhaps it is time you should be. This incredible performance will be showcasing at Carriage Works for three nights and tells the story of a hermaphrodite punk god/ goddess who challenges the social constructs of gender plasticity. This narrative is part fiction and part autobiographical but the main underlying idea is to try and encourage people to accept differences by allowing everyone to express their individuality freely. The performance itself transcends labels and steps outside of the conventional box of theatre by incorporating a DJ set by the star of the show Silvia Calderoni. This performance is very culturally relevant to the times where living in when issues such as women’s rights, national identity, race relations & reproductive rights are all very
Photo: Renato Mangolin
hot topics. It also shows the role art has to play in shifting people’s perceptions on these important issues. If that isn’t enough, the DJ set is another exciting part of the show with music from legendary indie rock/ punk bands The Smiths, Vampire Weekend and the Yeah Yeah Yeah’s who are all artists that broke the mould with their music and challenged social norms. (DJ) Mar 16-18, 7:30pm. Carriageworks, 245 Wilson St, Eveleigh. $35. Tickets & Info: www.carriageworks.com.au
Mercan Dede By Jamie Apps Tonight a truly innovative performer who blends ancient Sufi and modern electronic music will take to the stage of the Oxford Art Factory.The Turkish born but now Montreal based Mercan Dede describes himself as “a very ordinary person with no specific talent for music” yet he has created something unique and mesmerising. Dede’s unique style comes from his background performing shows both as a DJ and also as a flute of the shepherd player. During his performances as a DJ Dede learned to “focus on the audience” which became incredibly useful when he would return to traditional performances because it meant that he noticed “that even the people who loved that style would become tired with it because there was nothing new or fresh emerging.” With that thought process swirling in his head Dede set out to use electronic music production techniques to bring many of the natural ambient
Blackeyed Susans Close Your Eyes
sounds of traditional instruments back into its performances and recordings. “One of the biggest details I do on my albums is to use real ambient sounds.You can go buy ambient noise packs for $50 but I never use those I always go out and record the natural sounds personally.” Obviously when Dede chose to set out on this path he had to sway the doubters, in particular his first record label, but as he explained, “I was convinced that this combination between
A slow and luxurious mood comes over the listener of the new album from The Blackeyed Susans - Close Your Eyes and See. One or two of the five minute tracks into the album there is a strong sensation of time stopping to listen to this balladic collection. Marching through water, the listener becomes hypnotised by the combination of rhythms. Over the top a deep soothing voice tells the listener a story in such measured tones that it is hard not to fall into the pull of restful brainwaves, not thinking at all, nor comprehending the incoming voice. Gloomy notes, so heavy that they block out everything else, seem to stretch out in the listener’s ears, adjusting the rules of physics as they go. Years pass and the listener must emerge, older and unaware of the time that has passed in the listening of this album. (SP) WWWW
counter points would work. I wasn’t sure I would be the one to make it happen but I’m a very stubborn and dedicated type of person.” Whilst that may make Dede sound egotistical he stresses that this was far from the case, “I simply had a naive dedication to this style which I think was very important because I knew something new, beautiful and honest was happening.” Ahead of tonight’s show the excitement in Dede’s voice was palpable as he said, “last time we were there [Australia] we found an audience who was very direct and very honest, they didn’t hold back their emotions, which was a very nice feeling,” so he is hoping to continue to build off that. With tonights show Dede has chosen not to overly prepare a “specific repertoire” because his “favourite thing is to go on stage with a very talented band full of technically great musicians to create something from the energy of the people and break the boundaries between audience and musician.” Mar 16, 8pm. Oxford Art Factory, 38-46 Oxford St, Darlinghurst. $40-$50+b.f. Tickets & Info: www.oxfordartfactory.com
My Echo - Brothers
If you like old school Aussie pub rock, then you’ll like My Echo.The four piece Melbourne band has garnered a following in the last couple of years and has just released their debut album Brothers. The collection of songs represent the issues and sentiments of suburban, working class boys, ranging in vibe from punk/indie to rapid ska to glam-rock ballad.With lyrics that are folk narrative and tell it like it is, this will appeal to those who like their songs well done with a squirt of tomato sauce. “Meet You There” is their breakout single - fun and poppy with a hilarious video that takes the piss and sprinkles it freely. “Old And Grey” is philosophical and sombre, while “Boys In Blue” is basically middle-finger-up taunting.“Bastard Child” is an anthemic story from the streets; “Summer’s Gone” is a romantic rock ballad that features an un-named female singer. My Echo has a yesterday feel with today relevance. (RB) WWW city hub 16 MARCH 2017
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THE NAKED CITY
With Coffin Ed If you were one of the thousands who attended last weekend’s Parramasala, you could not fail to be impressed by the impact and vibrancy of Indian culture, whether it be film, dance, craft, food or music. When it comes to the latter there is no one defining sound, given the cultural diversity of India itself. But one thing’s for sure, Indian music in all its many varieties, has an alluring appeal to the Western ear. That was certainly the case with award winning Sydney musician Matt Keegan, a saxophonist and composer who took out the 2011 Freedman Foundation scholarship. Matt first travelled to West Bengal in India in 2009 where he met and spent time with some of the local Baul folk musicians who live in that part of the world.As he notes: “I learnt enough about their music and culture to become quite intrigued. I also really enjoyed the way that music was integrated into Indian society much more deeply than it is in Australia.” It was during this first trip that Matt forged a strong friendship with a group of Indian musicians known as The Three Seas.As he explains: “The musicians were all from West Bengal but came from very different backgrounds. Raju Das is a Baul musician, the son of a tabla player who grew up immersed in that tradition, studying the culture and music at a dedicated Baul ashram. Gaurab Chatterjee, or Gaboo, is the
The Three Seas
Indian Folk Fusion
drummer from a well known rock band in West Bengal called Lakkhichhara whilst Deo Ashis is Indian but with parents from a Nepalese background. He brings a different musical flavour with a folk music style from high in the mountains in Darjeeling.” After winning the Freedman scholarship in 2011, Matt was able to return to India, reuniting with these three musicians, in a recording project leading to what is now a whole series of performances in
Australia. The Freedman fellowship enabled him to take himself, his brother Tim, who plays bass and recording engineer Richard Belkner to record an album with Raju, Ashish and Gaboo. They all met up in Delhi and stayed with a friend, guitarist Cameron Deyell who was living in India at the time. After rehearsing for two weeks they made the long five hour journey south of Delhi to the tiny village of Bagar to stay at the Piramal Haveli, a beautiful 100 year old Italian style guest house in the middle of rural India.They took over the whole place for a week and turned it into a recording studio.The end result was the highly engaging album Haveli which has since received rave reviews. I asked Matt what Sydney audiences could expect when the group get together in Sydney for a series of concerts this March. He explained: “We have been sending tracks back and forth as we begin figuring out the new music we will play. I have made a great start on the sounds and ideas I want to bring to the table and the other guys will have their ideas and songs to add too. It will be an eclectic mix of traditional folk music and instruments with a contemporary twist of sounds and compositional ideas.” The Three Seas Concert, presented by the Freedman Foundation, the Music Trust and SIMA takes place in the very atmospheric theatre of the National Maritime Museum at Darling Harbour on Saturday March 18.Tickets & Info: www.sima.org.au
Superposition Of Three Types
Photo: Jessica Maurer
Artspace gallery’s latest exhibition explores the work of thirteen living Australian artists, uniting their unique practices through their shared central interest in exploring colourist abstraction. Superposition of Three Types acknowledges the rich avant-garde origins of abstraction, resisting the oft-touted and oversimplified appreciation of its aesthetic elements. Highlighting the continued relevance of visual art practices which draw on colour and form, this exhibition engages the architecture of the gallery. Artworks playfully jut out from unusual spaces in the gallery: Gemma Smith’s double-
sided glass painting is suspended between the architectural columns, Ry David Bradley’s paintings invite visitors to touch and play. ‘Types’ of artistic practice are explored in parallel. Artspace sets itself apart in the gallery scene through its discerning curatorial approach. Beyond the visual delights of abstract art, Superposition analyses the origins of abstractionism as a form of resistance and a practice used by artists over the past two centuries to conjure alternative perspectives to world affairs and the grasp of commercial culture. Other featured artists include: Sydney Ball, Rebecca Baumann, Lara Merrett, Elizabeth Newman, Jonny Niesche, Huseyin Sami, Nike Savvas, Brendan van Hek, Julian Day, Spence Messih and Shelley Lasica. (AM) Until April 17 (Mon-Fri 11am-5pm, Sat+Sun 11am-6pm). Artspace, 43-51 Cowper Wharf Road, Woolloomooloo. FREE. Info: www.artspace.org.au
Pyrmont Growers Market Pyrmont Growers Market will feature the best and most popular market vendors in Sydney - people who know their product, are passionate about what they do, have a huge fan base and genuinely love their customers. Come and line up for cultured butter from Pepe Saya, delicious cakes from Black Star Pastry, award winning olive oil from Alto Olives, traditionally 14
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made deli foods from Pinos’ Dolce Vita Fine Foods, aromatic specialty coffee from The Little Marionette, and so much more. Taste the difference in an egg that was laid by a happy chicken only a few hours before. (RB) Saturday March 25th, 7:30am - 12pm, Pyrmont Bay Park, Pyrmont (opp.The Star)
Photo: Jess Husband
Following on from showing at a couple of curated shows late last year local artist Mehwish Iqbal is currently holding her first solo exhibition at Woollahra’s .M Contemporary gallery. With this latest exhibition Iqbal explores the role of women and children in contemporary society and the phenomena of global migration in relation to the commodification of human agency. Using a range of different mediums, from works on paper, paintings and sculpture this is a compelling exhibit which touches on so many important fundamental social issues impacting our world today. Iqbal herself describes her work as as a synthesis of eclectic concerns that generate from the realm of personal experiences of
social, cultural and political landscapes in the country of her birth, Pakistan, and her home Australia. By layering images and sewing into fragile surfaces, Mehwish references the human body and tackles many aspects of assimilation and adaptation. “For me clothing became a manipulative vehicle and insight into an individual culture and history,” she says. These ideals blend perfectly with .M Contemporary’s mantra to create a crosscultural conversation through exhibiting and supporting emerging and established artists from around the world. (JA) Until Mar 25 (Tue-Fri 10am-5pm, Sat+Sun 9am-4pm). .M Contemporary, 37 Ocean St, Woollahra. Info: www.mcontemp.com
Loving
Kong: Skull Island
The Eagle Huntress
Photo: Asher Svidensky
Set in the late 1950’s this film deals with interracial marriage, an extremely sensitive social issue which was unlawful in most American states. The tragic love story of Richard and Mildred Loving is detailed, an interracial couple from Virginia who faced torment and discrimination, especially from the hands of lawenforcers. They were banished from Virginia and told they would face a prison term if they returned. They defied the law and their 10 year struggle for equality and acceptance led them to the Supreme Court of Virginia where they argued marriage was a fundamental right. Capturing the attention of Life Magazine, this
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including James Conrad (Tom Hiddleston), Preston Packard (Samuel L. Jackson) and Mason Weaver (Brie Larson), it is soon apparent that this is no ordinary island and that humans are not at the top of the food chain here. The special effects, especially the battle scenes between Kong and the various other monster inhabitants are impressive but it is at the expense of character development, which means we don’t actually care who survives. (ASim) WW
Panoramic photography flaunting the beauty of the mountainous landscape are unparalleled and Aisholpan’s endeavour to apprehend an eaglet on the mountainside is one of the most daring ever filmed. Narrated and with subtitles, this documentary is masterfully produced and complemented by a magnificent musical score. The theme of a young girl who resists male dominance in a culturally diverse society should also capture the wonderment of audiences. Take the journey and be mesmerized by this unique story of a courageous girl who followed her dream and dared to be different. (MMo) WWWW
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Kong: Skull Island is the latest edition (and third remake) of the King Kong franchise. Combining elements and plot lines of the 1976 and 2005 versions, Kong: Skull Island unfortunately does not have a point of difference or much of anything new to offer. Set in the 1970s following the end of the Vietnam War, Bill Randa (John Goodman) a government official, convinces a Senator to greenlight an expedition to Skull Island. Amassing a team of scientists and military personnel
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was ultimately the catalyst for an amendment to the constitution of the United States of America. An incredibly confronting film headed by Joel Edgerton who delivers one of his finest performances in recent years, plays Richard, a gentle and caring man widely accepted by the black community. Ruth Negga portrays Mildred, his petite and softly spoken wife who is the recipient of most of the torment. This moving story of a couple’s battle for their civil rights showcases the darkest aspect of a bygone era, which unfortunately is mirrored by today’s society to a lesser extent. (MMo)
The story of a 13 year old girl who defies tradition and becomes the first eagle huntress in Mongolia is explored in this powerful and inspiring documentary. Eagles were used to catch food for thousands of years and eagle hunters have been in Aisholpan’s family for generations. Her father is her mentor who claims that this mode of hunting is ‘a calling that’s in your blood – it’s not a choice’. Detailed are the family’s simplistic nomadic lifestyle on the Altai Mountains, Aisholpan’s rise as an eagle huntress and her dream of competing in the yearly Eagle Hunter’s Festival amongst 70 experienced male eagle hunters.
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