The Adelaide Review December 2012

THE ADELAIDE

review ISSUE 394 december 2012

THE ADELAIDE REVIEW

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a christmas feast Chef columnist Annabelle Baker prepares the perfect Christmas banquet

J.M. Coetzee The Booker and Nobel Prize winning Adelaide-based novelist is the subject of a new biography, A Life in Writing

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The art of reading Novelist and columnist Stephen Orr wonders if quality books are on the endangered list

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The Austerity Trap John Spoehr warns that Australia should not fall for the austerity trap

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the adelaide REVIEW DECEMBER 2012

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Editor David Knight davidknight@adelaidereview.com.au Art Director Sabas Renteria sabas@adelaidereview.com.au Graphic Design Michelle Kox michellekox@adelaidereview.com.au Suzanne Karagiannis suzanne@adelaidereview.com.au Production & Distribution Karen Cini karen@adelaidereview.com.au

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The Adelaide Review discovers the pleasures located along Norwood’s Chapel Street.

Chapel Street

Advertising Executives Helen Corkran Tiffany Venning Franca Martino Michelle Pavelic advertising@adelaidereview.com.au Photographer Jonathan van der Knaap Tony Lewis Jane Llewellyn Kris Lloyd John McGrath John Neylon Stephen Orr Alex Parry Nigel Randall David Ridge Avni Sali Christopher Sanders David Sornig John Spoehr Shirley Stott Despoja

Graham Strahle Sian Williams Paul Willis Jock Zonfrillo

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General Manager Publishing & Editorial Luke Stegemann luke@adelaidereview.com.au Publisher The Adelaide Review Pty Ltd, Level 8, Franklin House 33 Franklin St Adelaide SA 5000 GPO Box 651, Adelaide SA 5001 P: (08) 7129 1060 F: (08) 8410 2822 adelaidereview.com.au

FORM checked out the best SA design had to offer at the annual awards night.

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Managing Director Manuel Ortigosa

01 COVER

henry bucks Disclaimer Opinions published in this paper are not necessarily those of the editor nor the publisher. All material subject to copyright.

Circulation CAB Audited average monthly circulation: 28,648 (April 12 – March 12) 0815-5992 Print Post.

Approved PPNo. 531610/007

Henry Bucks’ new Managing Director Tim Cecil keeps the elite menswear company in family hands; fifth generation Buck, Cecil is the great great grandson of Henry Buck.

FEATURES 05

VISUAL ARTS

31

SCIENCE 12

FOOD, WINE & COFFEE

39

FASHION 22

BOOKS 52

PERFORMING ARTS

FORM 53

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CHRISTMAS MIXTURE All manner of delights for the season at affordable prices from a host of popular artists

NOVEMBER 30TH – DECEMBER 23RD Paintings Ceramics Jewellery Sculpture Unframed prints & watercolours Objects d’art Glass Photography

Janet Brigland ‘Jack in the Box’ (detail)

Guest Speaker: Rebecca Björnhage Sunday December 2nd 2012, 11:30am

SA Design Awards

A Christmas feast: Shot by Jonathan Van der Knaap, styled

by Michelle Kox and prepared and presented by Annabelle Baker.

This publication is printed on 100% Australian made Norstar, containing 20% recycled fibre. All wood fibre used in this paper originates from sustainably managed forest resources or waste resources.

OLGA KONOSHCHUK

Olga Konoshchuk is a contemporary artist of Ukraine living and working in Ukraine and Australia. Since the age of 16 she has exhibited widely in prestigious Ukrainian and International exhibitions. Her impressive abstract and figurative canvases present the striking colours, themes and vistas of her international travels.

OPENS: SUNDAY NOVEMBER 2ND 11:30AM CONCLUDES: SUNDAY DECEMBER 23RD 5PM Guest Speaker: Rebecca Björnhage Assistant Curator, Greenhill Galleries Adelaide & Her daughter Freja Ember Maja Bridgett ( Born 22-08-2012)

OPEN: Tues - Fri 10am - 5pm Sat & Sun 2pm - 5pm 140 Barton Tce West, North Adelaide SA 5006 P 08 8267 2933 / F 08 8239 0148 greenhill@internode.on.net / www.greenhillgalleriesadelaide.com.au

Olga Konoshchuk ‘Evening Regatta’ (detail)

Contributors Rachel A. Ankeny Annabelle Baker Nina Bertok David Bradley John Bridgland Danny Brookes William Charles Derek Crozier Alexander Downer Robert Dunstan Stephen Forbes Andrew Hunter J.C. Kannemeyer

the adelaide REVIEW DECEMBER 2012

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feature

OFF TOPIC Garry Stewart

Off Topic and on the record, as we let South Australian identities talk about whatever they want... as long as it’s not their day job. Before discovering dance, which would eventually lead Garry Stewart to Adelaide to become Artistic Director of the Australian Dance Theatre, Stewart was looking forward to a career as a social worker.

David Knight

“

I left home when I was 15 and put myself through year 11 and 12 and I had a bit of assistance from a social worker,” Stewart, who studied social work at the University of NSW, explained. “Because of her I decided I wanted to be a social worker. But then I discovered dance,

which really was from left of field and I had a really strong response to dance. So I became obsessed with dance and started full time dance classes.

“While I was at the University of NSW I had a live-in job with the Deaf Society of NSW. It was just assisting during meal times, being a friend to the residents and interpreting the news, so I learnt a bit of sign language. Around the same time, I was a volunteer for an organisation fronted by the St Vincent de Paul called Taskforce.

Taskforce served the centre of Sydney and inner city suburbs like Redfern and Surrey Hills back in the early 80s when those areas were quite hardcore, and The Cross as well. People would ring a hotline during the day, as they might need food, clothing, furniture or whatever they required. In the evening we had a list of people to visit and we’d go to their house, assess their needs and then write them a voucher to help them get through some sort of emergency situation. Usually it was a need for food. Of course you occasionally came across junkies who only wanted cash, that’s why we only gave out vouchers for food, clothes, furniture and items that would answer a particular need, we would never give them cash.”

Stewart also volunteered for Hands On during the Sydney AIDS crisis.

“In 1990 I snapped a ligament in my knee and had to take a year off, so one of the things I learnt was remedial massage. I used to do voluntary massage for an organisation called Hands On, which provided massage for people living with HIV and AIDS. Most of the people I saw were at St Vincent’s Hospital in Sydney, which was ground

Garry Stewart

zero for the AIDS crisis in Sydney. I did that for about 18 months. It was hard going emotionally.

It was really hard. It was a difficult time in Sydney.

I was just one of many people trying to contribute and help during a really awful health crisis.”

To put himself through Australian Ballet School, Stewart did some nursing assistance work.

“I went to this nursing home and in a room by himself was this young guy, probably mid-20s, who was completely paralysed and couldn’t speak, couldn’t feed himself but was completely aware of his surroundings and what was happening.

His room was filled with Madonna posters and dance music was playing and I wondered what had happened to him and why he was in a nursing home. I was told he was gay and had come out to

his parents. His parents had a negative reaction to that so he took an overdose but it didn’t kill him. He survived and it caused irreparable brain damage, so he ended up in a nursing home. At that point I learnt there actually weren’t any care facilities for a young person suffering from that kind of neurological damage. Across Australia there are 6000 young people in nursing homes. Youngcare’s an organisation that wants to get those young people out of nursing homes and into facilities with other young people; not only for social reasons but nursing homes don’t necessarily have the ability to care for these people.

“They require 24-hour attention and there’s nowhere else for them to go but nursing homes, so they are amongst people... the average age of a person in a nursing home is 86, and these people are in their late teens, 20s and 30s, so Youngcare tries to provide support for carers but also to establish actual residences, bricks and mortar residences, for young people with these severe problems to get them out of nursing homes.”

Stewart is looking to hold a Youngcare (which is a national organisation) fundraiser/event in the final half of 2013, hopefully at a theatre such as the Adelaide Festival Centre.

“I’ve spoken to Youngcare and said that I’d like to do a fundraiser and would be interested to look at raising funds to at least begin a South Australian strategy for developing a residence and providing some kind of support for carers.”

youngcare.com.au

Burnside Village is calling all artists to take part in the

RICHARD COHEN OAM MEMORIAL

SCULPTURE COMPETITION. August 2013 at Burnside Village

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Adult Prize Junior* Prize People’s Choice Award

$12,500 $3,000 $2,500

Artists are invited to enter the competition by registering their interest online at burnsidevillage.com.au. Competition guidelines and official entry forms will be sent to all registrants on receipt of registration.

The Competition is open to all Australian resident artists. Registration is mandatory and closes 5pm, 15th January 2013.

Please note, only current school students are eligible to enter into the Junior category.

*

Françoise Abraham’s “Frivole” On display at Burnside Village

burnsidevillage.com.au

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the adelaide REVIEW DECEMBER 2012

FEATURES | society | opinion | business | science | letters

A life in writing An extract from the first biography of Nobel prizewinning author J. M. Coetzee, written by J. C. Kannemeyer with the full co-operation of Coetzee.

J. C. Kannemeyer

T

he research for my biography of J.M. Coetzee began in July 2008. I was fully aware that I was dealing with a renowned author, a central figure in English studies at universities worldwide. About 500 M.A. and doctoral dissertations on his work have been completed, while new books on his novels are appearing all the time in various languages.

In March 2009 I visited Coetzee in Adelaide, where I interviewed him extensively for two weeks. From the outset, Coetzee cooperated unstintingly and even enthusiastically. He answered all my questions succinctly, but did not want to be drawn into speculations and opinions, especially not on interpretations of

his work. Even when I asked him which critics he felt had most nearly approached saying something fundamental about his work, he adroitly redirected the question, avoiding a reply. Questions on sensitive topics – such as the estrangement and divorce from his wife, Philippa Jubber; the death of their son, Nicolas; and the illness of his daughter, Gisela – he answered in detail, succinctly, directly, and as objectively as possible, however unsettling the facts.

The significance of biographical information in dealing with a writer like J.M. Coetzee is a moot point. In her 1990 introduction to a bibliography of his writings, Teresa Dovey, the author of The Novels of J.M. Coetzee, states that in dealing with somebody like Coetzee, personal biography is of lesser importance. Dovey made

this pronouncement before the publication of the triptych of autobiographical works initiated

by Boyhood (1997) and followed by Youth (2002) and Summertime (2009). But even before publication of this trilogy, researchers might have discerned autobiographical moments in Coetzee’s work. In his very first novel, Dusklands (1974), for instance, he makes play with his ancestors and with his own history.

Coetzee himself on more than one occasion commented on autobiography as a genre, and chose it as the subject of his inaugural professorial address at the University of Cape Town. According to him, all the writings of an author, including his literary criticism, are autobiographical, since he often comments on traditions with which he aligns himself or from which he consciously diverges, and on writers who have ‘influenced’ him or whose work speaks to him with particular urgency.

When a writer commits himself to recording his own life, he selects from a whole reservoir of memories. Autobiography, as Coetzee puts it in one of his interviews with David Attwell, ‘is a kind of self-writing in which you are constrained to respect the facts of your history. But which facts? All the facts? No. All the facts are too many facts. You choose the facts insofar as they fall in with your evolving purpose.’

For Coetzee, then, the question of selection is crucial in autobiographical writing. Even when he is being absolutely faithful to the facts, the author makes a selection from the many facts at his disposal, so that the relation between a true biography and a fictional biography is by no means as clear-cut as one might think. That’s why Coetzee tells Attwell: ‘All autobiography is storytelling, all writing is autobiography.’ It is not the aim of the artist to reproduce reality faithfully, but to use and process reality. Through ordering and selecting, the artist arrives at a more complete truth than the historian, who is bound by facts. An autobiography is, in truth, as Martin van Amerongen says, not a verifiable curriculum vitae, but an interpretation, sometimes even a complete, self-sufficient work of art with its own laws and criteria. Indeed, James Olney claims that ‘the autobiographer half discovers, half creates a deeper design and truth than adherence to historical and factual truth could ever make claim to.’

With the publication of Boyhood, Youth, and Summertime, the autobiographical element in Coetzee’s work became more conspicuous, but also in some respects more deceptive. In pronouncements on Boyhood

and Youth, Coetzee stressed that the books were fictionalised autobiographies, though he may have exaggerated the fictional aspects of the first two books. The factual details of Coetzee’s life correspond to a large degree with their rendering in Boyhood and Youth, even though the experiences of the boy and the young man are recounted from maturity by a distanced narrator. The most elusive of the autobiographies, from an historical point of view, is Summertime, where the character Sophie rightly says to the prospective biographer: ‘What Coetzee writes there cannot be trusted, not as a factual record – not because he was a liar, but because he was a fictioneer.’ In Summertime Coetzee rearranges the historical record with a view to arriving at a deeper account of the truth.

Any biographer of Coetzee would have to take careful account of this uncommon relation between fact and fiction, and of his relativising and elusive narrative strategies. He would have to consider the writer’s evident shying away from authorial responsibility, and be wary of appropriating Summertime, in particular, to his project. Even in a work like Diary of a Bad Year, the narrative strategy does not allow the reader invariably to ascribe the pronouncements of the fictionalised writer to the author, J.M. Coetzee.

In an essay on Joseph Frank’s comprehensive biography of Dostoevsky, it is clear that Coetzee prizes the Russian writer precisely for his execution of what he calls the dialogical novel. ‘A fully dialogical novel,’ Coetzee writes in Stranger Shores, ‘is one in which there is no dominating central authorial consciousness, and therefore no claim to truth or authority, only competing voices and discourses.’ It is this narrative strategy that Coetzee adopts in a major part of his oeuvre.

Coetzee could thus, with Roland Barthes, assert that the birth of the reader must occur at the cost of the death of the author. Keats’s concept of the chameleon writer, in essence identityless and bereft of fixed opinions or ideas, has never, to my knowledge, been taken to such extremes as in the case of Coetzee. This, too, complicates the task of the biographer, however seductive the challenge of capturing the life of such a writer.

A Coetzee biography, however, need not draw its meaning primarily from the light it sheds on the author’s creative output, or from its relevance to literary criticism. The life story of this writer with his exceptional achievements is valuable in its own right, and his extraordinary novels stimulate an interest in him as a person.

the adelaide REVIEW DECEMBER 2012

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opinion

MODERN TIMES Stretching the elasticity of conscience Andrew Hunter

A

That he uses autobiographical elements in his work does not in itself justify a biography, even though the special creative game he plays with the autobiography could lead to an engrossing relation between biographer and author, or between the biographer and the author’s work. The biographer is, of course, peculiarly prone to the perils of the ‘biographical fallacy’, the distortion of the meaning of the novels through biographical projections. He has to guard against being misled by the writer’s creative reworking of the facts of his own life; he must not take fictions for truths, but needs to search for true facts outside or beyond the novels.

If he can do this, he can report on the life in writing, the way through the world that the author, as both a writer and a human being, has made for himself. This is where the biographer’s task differs most from that of the novelist, and from this a biography derives the authority of such truth as is in its power to convey.

This is an edited extract from J. M. Coetzee: A life in writing, by J. C. Kannemeyer. (Scribe, $59.95)

n unremarkable man wearing a foolish grin gazed moronically back from the television, parroting rehearsed arguments that have been used for centuries to defend morally reprehensible positions. The same arguments were used in defence of the slave trade in America and the same arguments were employed to defend the continued use of asbestos in Australia: change will have an adverse effect on the local economy. Morality is no match for the truth of the market.

Recently, thousands of sheep had been shipped across the world to Bahrain, only to end their journey in Pakistan. The sheep, over 21,000, were clubbed and stabbed to death or buried alive. Two years ago, footage taken of an abattoir in Cairo showing acts of wanton cruelty did not appear in the mainstream media because it was deemed too repulsive for a television audience. Last year, comparable images taken by animal welfare activists in Indonesia made it to our television screens.

The most recent scenes in Pakistan were perhaps the most gruesome. Will we soon become immune to such brutality? What effect does it have on the minds of the viewers when such senseless violence is tolerated by those elected to represent us?

History is replete with examples of barbaric acts committed on animals that have preceded human trauma. The organised massacre of dogs undertaken by Russian soldiers days prior to the start of the reign of terror against the Czechoslovakian people in 1968 is one such example. Are our senses being dulled to such cruelty so that we become impervious to violence against fellow humans that will surely follow? Economic growth is a combat that

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knows no end. Will we soon be emotionally ready to go to war and accept its inevitable horrors in order to protect our economic interests?

More likely, we are merely witnesses to an age when politics has become an exercise in managing the economy and seeking compromise on everything else. On the issue of Live Exports, however, it is inevitable that change will eventually come. Both government and industry understand that monitoring the welfare of animals outside of our national territory is nigh impossible. As the vast majority of Australians demand urgent action on animal welfare issues, the Live Exports industry is little more than an edifice of clay.

The regulations introduced this year failed to provide a framework for an ethical and sustainable livestock industry. The new regulations do not mandate stunning at the point of slaughter for live animals exported from Australia. Over a century after Tolstoy asserted that there will be battlefields as long as there are slaughterhouses, we refuse to even do what is necessary to civilise slaughterhouses, let alone to eradicate them.

Shamefully, the livestock industry has been the first to anticipate and prepare for change.

The Australian Agricultural Company’s

“

Over a century after Tolstoy asserted that there will be battlefields as long as there are slaughterhouses, we refuse to even do what is necessary to civilise slaughterhouses, let alone to eradicate them."

(AACo) plans to build an $85 million abattoir and meat packing facility in Livingstone Valley, about 50 kilometres south of Darwin. It is expected that most of the meat processed in the abattoir will head to overseas markets, predominantly to Asia. This step makes sound strategic sense. Gradual transition is the preferred option for industry and its workforce, not sudden change.

WA Farmer’s President Dale Parks recently remarked: “Until we have the next disaster, we still have an industry.” No responsible industry, or government, would wait until the next disaster – an event that in the case of Live Exports is as predictable as night following day.

A recent report undertaken by respected agricultural and economic consultancy firm ACIL Tasman asserted that domestic processing of livestock will enhance regional economic activity and increase employment. Avoiding sudden rupture to the livestock industry would however require gradual transition from Live Exports to a focus exporting processed meat.

ACIL Tasman’s report may not have s a t i s f a c t o r i l y a d d re s s e d a l l e l e m e n t s necessary to assure a smooth transition for this complex issue, nor did it have to. The report was sufficiently robust to demonstrate that alternatives to Live Exports, such as a privately operated domestic processing facility, would be economically viable. It is likely that the livestock industry would be open to discussions on transitional arrangements.

Companies in other industry sectors have learnt the hard way. What would Gunns, now in voluntary administration, and the CFMEU give now to go back to 2003 and accept Latham’s $800 million Sustainable Development for Tasmania Fund? The political cost to government of protecting Live Exports industry may soon be too great to bear. If industry was offered a reasonable timeframe and generous governmental assistance in terms of infrastructure and retraining, an agreeable plan to phase out Live Exports would be achievable.

Meanwhile, we sit uneasily watching television in our living rooms, waiting for the next disaster and wondering if the parliament’s tolerance will stretch the elasticity of our common conscience.

ADELAIDE MBA

Briefing Session 6.00pm Tuesday 4th December 2012

To register for free visit: www.adelaide.edu.au/mba Call 8303 4650 or email: mba@adelaide.edu.au

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the adelaide REVIEW DECEMBER 2012

FEATURE

The art of reading There could be more to the closure of bookstores than just the online revolution, as quality novels join the endangered list.

Stephen Orr

I

n his story The Library of Babel, Jorge Luis Borges describes a vast library full of books which are mostly gibberish. Among these books, though, is all the useful information that exists in the universe. The problem, of course, is finding that information. In the process of attempting to do so, the librarians are sent mad.

Perhaps Borges saw it coming. Perhaps he saw a world where there was no shortage of books, but little being said. Perhaps he foresaw Fifty Shades of Grey spilling from bookstores by the truck-load while the population steadily grew dimmer. Perhaps he guessed there’d be a million new titles published each year (around 14,000 in Australia) with few having much between the covers. But he also knew that in there somewhere was truth. ‘If an eternal traveller should journey in any direction, he would find after untold centuries that the same volumes are repeated in the same disorder – which, repeated, becomes order.’

The National Year of Reading is nearly over.

Perhaps we should stop to ponder what has been achieved. Also, what the legacy of this well-meaning attempt at preserving and sustaining our cultural heritage might be.

As a novelist, I believe in stories. We tend to forget them, and need to re-write (and re-read) them. The Joads’ journey across America in The Grapes of Wrath is still being made, this time from Afghanistan via Indonesia to Australia. If we forget the former, we risk not understanding the latter. That’s how history works, and books are just scraps of history.

In the song The Road to Gundaigai, we hear, ‘Where my Daddy and Mummy are waiting for me, And the pals of my childhood once more will I see …’ We realise this song isn’t about a road or a town, but dying, and the journey to a heaven of lost things.

But folksongs, like books, like writing, like reading, are perpetually endangered animals.

So, are we still reading? The recent closure of several bookshops hints at an uncomfortable truth.

As stocks are returned to publishers or sold off in fire sales (one shop owner told me his closing down week was the best he’d ever had), we are told it’s all because of online sales. There’s no denying the part-truth of this: cheaper books delivered to your door from all around the world.

But what if that’s only part of the reason?

Some bookshops are their own worst enemy.

The good ones have worked it out. It’s all about browsing. Stores need to have a wide range of titles. Too often they attempt to second-guess their readership by stocking large numbers of fewer books they believe they can shift in quantity. This is a direct invitation (apart from cost and convenience) for readers to head online. Even loyal browsers give up when faced with piles of the Latest Big Thing.

The machines at Adelaide’s Griffin Press have never been busier. But what if Borges was right? What if it’s not the number but the quality of books?

What if it’s really our fault? What if our lack of mental muscle is causing the problem? Daniel Defoe was one of my writer-heroes. He’d write on any topic, any time. Apart from longer works such as Robinson Crusoe and A Journal of the Plague Year, his 400 publications (mostly pamphlets) set the agenda for scribblers for the next 300 years. My all-time favourite is his 64-page pamphlet about how Dickery Cronks, ‘ … a Turner’s Son, in the County of Cornwall, was born Dumb, and continued so for fifty-eight years: and how, some days before he Died, he came to his Speech’.

Defoe became Dickens, then dozens of other British writers who have carried the flame. Both men had a voracious readership. No internet, no telly, no radio.

One shilling for a pamphlet. Information, words and the writer’s craft were valued. But now, in an age of Babelesque information, things have changed.

Now we turn to the six o’ clock news, or online tabloids, only to find the de-evolution of information and analysis. As I write I have a copy of The News on my desk. It’s tattered, yellow, dated 31 March 1945.

It’s covered in headlines such as ‘Jap Islands Hit

Poster from Fahrenheit 451, from DBCovers

for 8 Days on End’ – but, but, it’s also covered with words: discussion and analysis about what’s really going on in the world, not just at Crows Central.

One small ad cowers in the corner of the front page, almost afraid to raise its self-interested head. Now, it’s the opposite. Self-interest rules. Money. And its inevitable first victim: truth.

Perhaps people have given up trying to understand such a complex world. Then again, things were pretty complex in March 1945. Perhaps, faced with a reality at odds with our much-touted consumer paradise, we turn to distraction. And herein lies the problems for books.

Borges suggested the important thing about books were the thoughts they contain. If books, like newspapers, only aim for a certain lightness of being, then they might be making themselves irrelevant.

Who really cares if we get our fix with an e-reader or a physical volume? As long as we get it. But we ain’t getting it, despite the ease of its transmission.

Words define thought. Orwell told us this.

Newspeak was all about reducing the number of words in a language so that particular thoughts became impossible. Corporations caught on to Orwell a long time ago. The technology we put in our kids’ hands today is almost word-free.

Images, sound and colour rule supreme. And if that’s the case, how hard will it be to reconnect these cyber-kinder to real books, real thoughts and real ideas? Should we start public iPhone burnings in Hindmarsh Square?

Regardless, we are well down the path to medium beats the message. One Adelaide high school has already dumped its library in favour of an e-learning

about.me/julianoshea

centre. Perhaps they understand the complexity of a problem I’m still grappling with. Still, they didn’t have to ditch the books. We didn’t bin every radio when the telly arrived, or the tellies when the internet dragged its sorry arse into our living rooms.

The death of a library (even Borges’) is always a tragic thing. You can’t get that history, those ideas back. Gone; like the Ancient Library of Alexandria.

To me, it reeks of Goebells, the flames, Mendelssohn consumed by fire. Maybe, in the end, we don’t need to burn books if we are going to choose to ignore them; to let them die a slow, dusty death.

At the end of the day, all I really know is that I was made by books. Steinbeck, White, Joyce, Conrad and a hundred others. I’ve walked in their landscapes, met their creations, dealt with their dilemmas and learnt, somehow, mysteriously, to love, hate and forgive.

This is what we really risk losing: an understanding of where we come from, what we share and who we are. And this journey is our own.

It doesn’t help to have Jennifer Byrne narrowing the discourse to a few books that she or her cronies like.

This prevents us from making accidental discoveries which, in the end, are the only ones that matter.

The First Tuesday is a Ministry of Truth that no one should enter. Or are books becoming fashion items, read to be discussed more than absorbed through the skin, the fingers of readers?

Quality books are endangered for many reasons.

Most, I fear, can’t be reversed. Perhaps it’ll end up like Bradbury’s Fahrenheit 451, a small group of book lovers committing the classics to memory as paper burns, or sit on the shelves of Babel, forgotten in the din of ecstatic makeovers.

the adelaide REVIEW DECEMBER 2012

9

opinion

LETTER FROM DUBAI Alexander Downer

T

he other day I caught the new direct flight from Adelaide to Dubai. I arrived, Dubai time, at 5am in the morning fresh and lively having had a nine-hour sleep on the way. Plane travel these days is an opportunity to escape from emails, SMS messages and phone calls for hours. It’s not as hard as it once was.

In Dubai I had one of those chance encounters which sets your pulse racing. Sitting just two metres from me was 007. There was James Bond!

Well, to be more accurate it was Daniel Craig.

So I did what any of you would do. I asked him if my friend who was travelling with me could take photos of us all together.

A firm “no” was the answer! He said he was tired! Too tired for a photo? Well, I left it at that.

It was true; Craig looked washed out. I found out why. He had been in Afghanistan cheering up the British troops. That was laudable. It’s always good to see rich and successful people doing their bit for the community. But I’m not all that sympathetic. The best actors earn huge amounts of money from the public so they owe it to the public to share their fame around.

But it did make me think of the few encounters

I have had with actors. On the whole, it’s been a mixed bag. There was the time I hosted a dinner in Los Angeles as part of the Australian celebration known as G’Day LA. Nicole Kidman arrived to a battery of flashing cameras. I had a brief conversation with her when another star appeared: Keith Urban, the country singer.

So I did the honourable thing. I introduced them to each other. This was an important moment in the history of global gossip. They hadn’t met before but were all eyes for each other. If ever there is such a thing as love at first sight, that was it. They went on to get married and remain so to this day.

Tragically, the happy couple have never recognised my cupidic role. I was not invited to the wedding, for example. I’ve not even received a thank you! But I do claim this as one of my significant diplomatic achievements.

Actors are used relentlessly for political purposes, as you know. Political leaders wheel them out to support their causes. I suspect their support means nothing to the public. The public are too smart. They know actors are people who learn lines written by other people and have the skill to interpret those words effectively. But the public know that actors are not experts on macro-economic policies or geopolitical strategy.

I’ve often thought of Clint Eastwood as a bit of a hero. But the reason I’ve thought that is because I’ve liked the characters he’s played; people like Dirty Harry. But when I saw him bumbling along at the Republican Party convention in support of Mitt Romney, it confirmed my hunch; these people don’t win votes for candidates they support.

New Years Burlesque Party @

I was at a dinner in New York a few years ago and sat next to Deborra-Lee Furness. She’s a nice woman, no doubt about that. She started to tell me she was off to a demonstration the next day on Darfur. I approved, until she told me the target of the demonstration was President Bush. I wondered whether President Bush was massacring people in Darfur. Er, no, he wasn’t. But she didn’t know who was. I told her it was President Bashir of Sudan.

No, he wasn’t known to her.

But, she argued, President Bush should intervene and stop the killing. “Invade, you mean?” I asked. After all, Deborra-Lee had opposed the invasion of Iraq. She was flummoxed. She didn’t know.

Look, that’s fair enough but my point is this: her fame was being used to support a cause but she didn’t really understand much about the cause. There’s no reason why she should. She’s an actress not a professional diplomat. But it says something about our era. PR people think the public are dumb and that they will listen to actors – not experts – on serious public issues.

They won’t. And the public are not dumb.

The truth is there’s a huge gulf opening up between the culture of celebrity and reality. We put actors on a pedestal not because of what they know or their wisdom. We put them on a pedestal because we know who they are. Nothing more and nothing less.

I’ve met only one actor who has struck me as a real thinker; as someone who reads and learns and can argue her case. That’s Cate Blanchett.

I don’t really buy her politics but I respect her intellect and her learning.

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the adelaide REVIEW DECEMBER 2012

SCUTTLEBUTT

Town Hall’s discovery of loose lease terms for its clubrooms and sheds in the parklands is proving to be a costly lesson in asset management.

Sir Montefiore Scuttlebutt

I

t’s that time of the year one hankers for those lazy summer afternoons mucking about in a wooden boat, down by a river somewhere. Repairs wouldn’t really be the focus; indeed, keeping anything in repair is a decidedly passé thing to do if you look at the city’s river-edge history. That’s confirmed by news that Town Hall last year allocated $2.5 million (yes, $2.5 million) of ratepayers’ money to repair old clubrooms, boatsheds and other shelters in the parklands that Town Hall doesn’t actually use. They’re all leased to private groups.

Town Hall has not yet held a news conference to announce this generous cash donation towards the assets used by private sports and social clubs and commercial operators.

Especially about how supposedly watertight lease documents signed over many decades now read fuzzily about lessee responsibility to pay the costs of maintaining premises in tip-top condition.

An early test case of the consequences of

this long-term lease-file cock-up has links with a grand old Adelaide historical tradition: the gently gliding tour of the reedy edges of the Torrens River on a Popeye boat, as the ducks quack, the pea hens scurry and the girls blink winsomely at the boys. Popeye, a local ‘institution’, was born in 1937, but by 1950 three replacements were plying the river for the tourist trade. Each had connection with a river-edge boatshed, built in 1913, close to Jolleys Boathouse. However, by the time the 1950’s wooden versions had been replaced with fibreglass models, in the 1980s, there was no tangible connection. No boats were stored within. The only link was a name on a door.

To call it a ‘boatshed’ would be to carelessly elevate it above its status.

Time to go Today, the 99-year-old iron-roofed pile is threatening to fall down and needs replacing, which Town Hall is planning to manage, and pay for. Costly reports have made it very clear that this earthen-floor, no-mains-water edifice

multicultural tapas lounge bar

12 Leigh St City

Twisted corrugations and peeling paint... the boat shed featuring the cartoon character after whom Adelaide’s famous boat business took its name. A $7000 demolition job may soon be replaced by a $532,000 rebuild.

was an ancient wreck: a shambles of ancient wood panels and a shell of rusty corrugated iron of no historic value that should have been torn down decades ago. Curiously, despite this, Town Hall amended lease papers to reflect a new lessee only last year! The peppercorn rent was the temptation for the lessee, but a lawyer given the full picture probably would have advised the lessor, Town Hall, against it.

Were you or I to be doing the demolition, we’d hire a truck, three strong youths with sledgehammers, and have the lot at the tip by the end of a weekend. But not Town Hall.

This approach is now politically incorrect, and Town Hall has spent a fortune in time and money tip-toeing through pastures of policies and principles; hiring an expensive architectural firm to state the bleeding obvious; then hiring an expensive heritage consultant to review the entire history of the shed to ensure that turning on the bulldozer might not disturb some crucial heritage nugget buried in the archives. No nuggets were found by an expert in digging them up.

Eventually the truth dawned, and administrators about six months ago

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recommended replacement. Even though it was never used to store boats – and will not in the future – the matter was progressed above and beyond the call of duty. It paid the architects’ and the heritage consultants’ bills, and the staff salaries spent on reviewing this complex policy matter – probably in the order of about $50,000 – and set aside $50,000 for a replacement shed. Budgeting about $100,00 to replace a $15,000 tin shed only highlights what happens when a committee is involved.

But that’s not all.

Hold the horses In September, the matter came before councillors again. Administrators sought urgent approval for demolition, which would cost $7000. Instead, however, Town Hall voted for a report detailing the ‘authentic restoration’ of the pile, “retaining as much original material intact”. That would include rusted corrugated iron, a contaminated earth floor, and signs of termites. Town Hall’s estimate to restore such a tin shed is a staggering $532,000, and the bill would take Town Hall between 21 and 37 years to, as administrators say, “repay the investment”.

The front part of the shed might become a licensed café and/or kiosk, with an interpretive historical display featuring the Popeye boat story. Just one question. If Town Hall spends this sort of money on one shed, how long will the $2.5 million budget last?

And another thing...

There are 14 leased structures on the nearby shores of Torrens Lake, and many other sports sheds, kiosks and other structures elsewhere.

On the riverbank, some are operated by very well-connected educational institutions, whose old boys are skilled in legal tussles. It is likely that a number who have either spent good eastern suburbs money upgrading (and therefore will be seeking compensation from the $2.5 million pot) or will now want Town Hall to start spending, notwithstanding the fact that, for this exclusive old Adelaide club of schools, there’s already an 80 percent lease fee discount available. Interestingly, to redress the historical cock-up, Town Hall has a plan to charge a new “maintenance contribution fee” on all new leases but for some curious reason it won’t apply to the exclusive old Adelaide club of schools. But all that for another day.

Or perhaps for another generation of men who muck about in boats.

“

Were you or I to be doing the demolition, we’d hire a truck, three strong youths with sledgehammers, and have the lot at the tip by the end of a weekend. But not Town Hall."

the adelaide REVIEW DECEMBER 2012

11

feature

Sweetness and light: the pursuit of happiness Stephen Forbes

A

s a child I was delighted by the appearance of transparent cellophanewrapped and plastic display packs of glacé fruits that then seemed to be acceptable currency in Christmas gifts from distant cousins, or my father’s more distant business connections.

I was seduced by the palette of bright, translucent colours and diverse textures, the geometry of the compositions and perhaps even then the botany of desire. The promise of these compositions perhaps surpassed the experience of their consumption but we still enjoyed the fruits late on Christmas day.

Glacé fruits are hardly moreish – one segment of any type of fruit often seems adequate (and in certain cases a surfeit) which is perhaps why they survived the depredations of three boys well into the Christmas holidays.

Foods associated with Christmas are usually flatteringly described as rich – although a more accurate description might be fatty or sweet (and often both). In our tradition roast turkey and cranberry sauce, Christmas pudding and brandy butter, mince pies and even the assortment of nuts, muscatels and glacé fruits are abound in fats and oils and sugars of diverse origins. The feast for the winter solstice, later adopted to celebrate Christmas, was perhaps just as important in maintaining morale through winter and celebrating the turning point in diminishing day length but the fats, oils and sugars certainly would certainly have been welcome relief to a rationed diet.

The ready availability and low cost of sugar today (and the associated challenges for a healthy diet associated with sugar’s infiltration into packaged foods) obscures the scarcity of sugar in ancient civilisations. Beyond the cradle of sugar cane in southwest Asia the most accessible sugars for ancient civilisations were generally those available in fruits and honey. The latter is of course the most concentrated. Indeed the collection of stored solar energy in the form of sugars by bees and their transformation honey represents an astonishing miracle of cooperation between flowering plants and bees in transforming light into sweetness (assuming you can stomach the honey bee’s processing of nectar through regurgitation). The use of honey extended beyond direct consumption to exploring honey’s values as a preservative.

Classical Roman literature chronicles the precursors of today’s glacé fruits utilising honey in the absence of access to crystalline sugar.

Sugar cane (Saccharum officinarum) is familiar as a crop in tropical Australia although the importance of sugar as a plant that changed the world is largely overlooked. Sugar cane originated in New Guinea. Domestication saw the development of a complex aggregation of hybrids and the development of sophisticated cultivation and processing techniques, especially on the Indian sub-continent with Sanskrit records dating back to 500 BC. Sugar cane was traded through India to reach Persia, and then the eastern Mediterranean with Arab conquerors in the 12th and 13th centuries. By the 14th century Cyprus became a major producer using the labour of Syrian and Arab slaves. Eventually sugar cane made its way to Sicily where a familiar pattern of enslaved or coerced labour,

relatively large land units, and well-developed trade was established. Sicily was considered to be a model to be followed by the Portuguese and the Spanish in their own colonies in the Atlantic such as Madeira and the Canary Islands. Sicilian germplasm and knowledge and experience in cultivation and processing was sought and applied. With the establishment of Portugese and Spanish colonies in the Americas, the African slave trade and the sugar trade became inextricably entwined with the supply of sugar rarely meeting demand. The misery associated with the sugar trade belies the sweetness of the crop and the perfect circle of trade and misery in slaves, rum and molasses.

Sugar was so profitable in the tropical Americas that the Dutch gave up New York in return for Surinam in the 1670s and the French swapped Canada for Guadaloupe in the West Indies in 1763. The abolition of the British slave trade was hardly the last word in the challenges sugar presents for human wellbeing and for sustainable production. Worldwide sugar cane is a massive crop – FAO’s 2010 data suggests it was grown on about 23.8 million hectares, in more than 90 countries, with a worldwide harvest of 1.69 billion tonnes and with a consumption of 57kg per person in the USA and 36kg in the UK in the 1980s – a figure likely exceeded today.

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When you’re enjoying the remainder glacé fruits after Christmas, focus on the sweetness and light visible in the fruits and the matching of colours, tastes and textures surviving their marathon imbibing of sugar in solution. Ian Tolley OAM and Noelle Tolley AM’s glacé cumquats are a special treat (tolleysnurseries.com.au - Tolley’s Nurseries at Renmark also trades as The Cumquatery!) and given our experience preparing our own seem remarkably good value. The Smelly Cheese Shop at the Adelaide Central Market usually has a fine display of glacéd fruit including Tolley’s

cumquats and, for an Australian Christmas, glacéd quandongs. Ditters offer a wide selection of glacé fruits ( dittersgawlerplace.com.au). Unfortunately no longer through Virgin Hills in the Riverland Australia’s major producer succumbed to cheaper imports and closed in 2011.

Stephen Forbes is the Executive Director of the Botanic Gardens of Adelaide

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the adelaide REVIEW DECEMBER 2012

science

For the love of collecting Paul Willis

I

n the summer of 1958 a recently married couple strolled along a beach on the south coast of England while on their honeymoon. They picked up a strange rock, sort of roundish and black with a pattern of dots radiating across it in five rows. They didn’t know what it was and guessed that it was a fishing weight, the dots being where rope had rubbed its way into the surface. Being a strange object of natural beauty, they kept it as a lucky charm, a memento of their nuptials.

That couple were my parents and when I was a teenager I identified that stone as the 80-odd million year old fossil of a sea urchin. Thus the first fossil in my collection was found before I was born.

I came across this incredibly sentimental piece just last weekend while I unpacked my fossil collection and set out the hundreds of specimens in the collecting case that my dad and I restored while I was still in early high school. That was the period when I collected most of the fossils that make up the current collection. Some were from the occasional field trips I made with friends and family. Others were traded with fellow fossil collectors in Sydney, across the country and around the world. One fine specimen of a fish was swapped for an imitation dog poo that I got from a joke shop. This collection of ancient relicts from the distant past is also a collection of personal and cherished memories.

When I was at school there were a few of us who collected natural objects. While I was the only fossil collector there were a couple of rock collectors and another kid who collected insects. I also collected other gems of nature beyond fossils, gathering some pretty mineral specimens, learning how to pin out butterflies and other insects or how to preserve small invertebrates in jars.

This was the beginnings of my career in science; a first-hand engagement with the natural world.

An exploration of the environment to reveal

Dec 2012.indd 1

creatures hidden in the leaf litter or swimming in the local creek. Collecting tadpoles and watching them develop into frogs before releasing them back into the wild. Even leaves could be collected, catalogued and curated or photographs and pressings of flowers. As a young man growing up surrounded by the bushland north of Sydney, my world oozed with natural treasures to be collected, studied and understood.

I reflected on those happy times last Sunday as I unwrapped bundle after bundle of newspaper to rediscover trilobites and ammonites, corals and brachiopods; treasures hidden in the earth for millions of years that had been hidden from my view for the last couple of decades. And I wondered if the modern world has room for budding child collectors?

Today many insects are protected and collecting them can attract a fine. Similarly you are not allowed to remove tadpoles from creeks any more. In some states fossils are also protected and every collector, no matter how junior, needs a licence to collect them.

While I appreciate that we do need to protect the endangered and the threatened species out there, I do wonder why the collection of common species by children is not encouraged. It would do no harm to the environment and it would inspire and encourage those young minds that have a desire learn.

Then there are the questions of protecting our kids from the world around them. I have heard parents express alarm at the idea that their kids should be allowed to poke through the leaf litter to see what’s there – they might find a spider or snake that could harm them.

From my experience not only are such dangerous encounters rare, I think I’ve benefited greatly from having to confront them. The benefits of understanding what’s out there far outweighs the risk that something there might hurt you.

More depressingly, I wonder if there are any kids around today who would even be interested

in a natural history collection. There is so much to compete for their attention and time. From computer games to the internet, television and sports through to the more mundane demands of school work. For today’s kids there may simply not be enough hours in the day to start a rock collection or learn how to pin out butterflies.

So despite the odds, please tell me that there are budding junior collectors out there. Give me the solace of knowing that some children are building brilliant minds by devoting part of their weekends and holidays to exploring and collecting in the natural world. Let me know if there is still room for the love of natural history in Generation Double Z.

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21/11/12 5:14 PM

the adelaide REVIEW DECEMBER 2012

13

business

The austerity trap – a postcard from Britain John Spoehr

deeply disturbing but not surprising. Out of crisis sometimes comes reform and radical change but t is extraordinary how the economic normally only when great community pressure crisis engulfing much of Europe has been is brought to bare or new political formations constructed as a failure of nation states to emerge to challenge the status quo. Some of this manage their budgets when it was so clearly is happening as the protest movements against a consequence of a rapacious US banking and austerity and corporate excess in some parts of finance sector on a lending binge. While some Europe demonstrate but overwhelming power institutions in that sector paid the ultimate firmly remains in the hands of the advocates price – liquidation, fear of systemic failure led of neo-liberal austerity policies. These are in governments to protect the industry from itself. large part the architects of the failed banking Bank guarantees, bailouts, quantitative easing and and finance sector policies that brought you the so much more provided the banking and finance Great Recession. sector with the life raft it needed to avoid sinking Austerity policies conveniently shift the without a trace under the weight of its speculative burden of the Great Recession away from the excess. Meanwhile millions of people are sinking banking and finance sector to government into long-term unemployment and hardship. budgets, socialising corporate losses while The consequences of all of this are playing out cutting public spending on core services like in complex and insidious ways as I discovered health and education. Burden and risk shifting last month in Britain. Turbo-charged neo-liberal is taking place on an unprecedented scale as economic policies, from the very same stable of pro-austerity governments socialise corporate policies that brought you the Great Recession, failure and create new opportunities for are being imposed on an unimaginable scale. capital accumulation through privatisation and They are wrapped up in the seductive language outsourcing of public services. This new wave of austerity – the notion that we must stop living of privatisation appears to be an endgame for beyond our means, dramatically reduce debt, cut neo-liberal governance, undermining collective government spending and create new spaces for provision through systemic marketisation. corporate profitability unburdened by the heavy While all of this plays out the causes of the weight of government intervention. How can it global economic crisis remain unresolved be that solutions to the crisis so closely mirror the and the consequences perpetuated. Austerity policies that precipitated the crisis? In Britain at programs are undermining recovery by least this can be explained by the election of a neostarving economies of the public investment Thatcherian government that appears determined they need to grow. The effects of stimulus to dismantle the last vestiges of the British Welfare packages, where they were introduced, have State including the National Health Service! worn off, exposing the collapse in demand A great policy tragedy is unfolding with the that is fueling business closures and rising hollowing out of the British public service. unemployment. Budget cuts now reinforce and Nothing is immune from privatisation and magnify the crisis – a reality that will ultimately outsourcing as the Cameron Government cause some in the business community to encourages communities to bid for the provision question whether austerity measures are in of services that have long been collectively their interests or those of the banking and provided. Nothing can be taken for granted finance sector. anymore as the politics of austerity turbo-charges When the last wave of neo-liberal economic neo-liberalism in Britain and beyond. policy swept the United States and Britain That this situation is unfolding in the wake during the 1980s, Australian conservatives of the global financial and economic crisis is slavishly followed. They are likely to do so Pike AdelaideReview house ad_Pike Adelaide review house ad 28/11/12 2:16 PM Page 1

I

again. There is a close relationship between the British and Australian conservative parties, made closer in recent times by the role that former Australian Liberal Party strategist Lynton Crosby is set to play as an architect of the Cameron Government’s bid for reelection. Crosby helped to steer the Howard Government to successive victories and no doubt will play some role advising Tony Abbott in the lead up to the Australian Federal election next year. Australia would almost certainly join the coalition of austerity adopting countries if there is a change of government next year.

If it does then we will begin to feel the full brunt of the global economic crisis in Australia.

The current obsession with realising a budget surplus adds fuel to the austerity fire, giving currency to austerity measures as the Labor Government pursues its own program of public expenditure cuts. A Liberal Government can conveniently argue that Labor didn’t go far enough and it will if it is elected. More than this it will pursue the most radical recasting of the role of government in recent Australian history – government of the corporation for the corporation. Sounds far fetched? It is unfolding in Britain and beyond right now.

Associate Professor John Spoehr is the Executive Director of the Australian Workplace Innovation and Social Research Centre at the University of Adelaide

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14

the adelaide REVIEW DECEMBER 2012

health

Weight loss and happiness – Professor Avni Sali

A

s the weather warms up and the holiday season approaches, many people renew their focus on their excess weight and what is needed in order to correct this problem. Most people understand that healthy eating and increasing outdoor exercise is essential for achieving their goal. This is often done with the mission in mind of losing some kilograms and is as much influenced by the variation of season as it is our desire to shape up. We are more than conscious of the fact that summer clothing exposes our extra kilos.

There is no shortage of information when it comes to weight loss plans and products. The weight loss industry is estimated to be worth over $30-50 billion in the US alone. But with Australians spending $827 million on weight loss in 2012, and over 60 percent of Australian adults currently being classed as overweight or obese (a Body Mass Index of greater than 25 as measured by weight divided by height squared), something is clearly amiss. With each generation, Australians are getting fatter.

Being overweight or obese has more impact on our health than we may realise. Obesity as a risk factor for most other chronic diseases is, according to the Australian Institute of Health and Welfare (2010), the major preventable cause of disease – it has even overtaken smoking in recent years. Excess weight can therefore be seen to be a major cause for mortality and reduced life spans in individuals – cardiovascular disease, cancer and type 2 diabetes can all be attributed to obesity. The good news is that by losing as little as five percent of your body weight (if overweight) you can significantly improve your risk factor profile.

We know that weight is a more complex arrangement than just energy in and energy out, and that the body is a highly adaptive and complex system of interrelated parts and functions.

In order to deal with all of the factors that are responsible for increased weight, an integrative approach is essential. Within the integrative medicine model, health creation is a major focus with an emphasis on why the problem has arisen. When a patient is overweight, one of the

first considerations is to review their lifestyle, behavioural and socioeconomic factors to determine what might be causing weight gain or weight retention. There is more to each person’s weight story than just food and exercise. Recent research is pointing us to a range of factors, including biomedical, environmental, motivational and genetic influences, that affect how food is processed and the way our bodies utilise energy.

There are many lifestyle factors that impact on our body’s ability to function in a peak way (i.e. at optimal weight). Recent research is offering us some major insights into the role of stress, sleep disorders and personality factors and highlighting new strategies for managing weight from a total lifestyle perspective. One of the most important findings has been the value of pleasure in life, which is clearly related to stress but also to our general sense of wellness and our sense of joy and aliveness in the world. The less pleasure you derive from other aspects of life, the more likely you may be to consume excess food for pleasure.

The stress effect Chronic stress and anxiety can have direct effects on the body that can result in weight gain.

Whilst we may eat more, or make poorer food choices when we are stressed, there is also a series of biochemical responses that come into play when the body is experiencing persistent stress.

Stressors actually increase our intake of palatable (rather than bland) high fat and high sugar foods as a means of activating a pleasure response in the brain in an attempt to reduce stress, e.g. desserts.

The ‘flight or fight’ mechanism which is associated with stress results in increased cortisol, which not

only increases our appetites, but leads to increased fat storage as a result of biochemical changes.

Fat cells then produce the hormone adiponectin, which then in turn affects the cells’ response to insulin causing insulin resistance, which promotes weight gain. The cycle of stress is clearly one that could offset our best efforts with diet and exercise.

In contrast, feel great and seek pleasure and the body will create biochemicals that support our weight management endeavours. The pleasure effect is the stress effect in reverse.

Endorphins are powerful neurotransmitters in the brain that create feelings of pleasure and delight by acting on the opiate receptors, also in our brain. Exercise is one way to create endorphins in the brain, but there are also many other opportunities for us to seek pleasure and pleasurable activities in life that will benefit our weight loss plans. Research shows endorphins are a powerful appetite suppressant, especially when combined with elevated oxytocin levels.

Oxytocin has a number of functions including the binding of humans to one another as well as improving our feelings of contentment.

The journal Science recently found that obese people may have fewer pleasure receptors in the brain, which diminishes their ability to experience the pleasure of eating. Overindulgence may result in an attempt to boost their satisfaction – or dopamine levels – which is a hard-wired program in the brain designed to reward the body for consuming life-sustaining nutrition. Overeating and high fat food has also been shown in some studies (in mice) to disrupt a complex network of genes related to the fatty tissues.

“

Chronic stress and anxiety can have direct effects on the body that can result in weight gain. Whilst we may eat more, or make poorer food choices when we are stressed, there is also a series of biochemical responses that come into play when the body is experiencing persistent stress. "

“At the end of a great night spare a thought for tomorrow.”

Geoff Huegill Commonwealth Games Gold Medallist, Swimming.

the adelaide REVIEW DECEMBER 2012

15

health

the pleasure principle In a recent study in the Journal of Obesity, mastering simple mindful eating and stressreduction techniques helped prevent weight gain without even dieting. As the stress hormone cortisol is linked to eating behaviour, anything we can do to manage stress will have far reaching benefits on the body and mind. Managing stress through meditation and body awareness gave participants a deeper understanding of the signals their body was giving with regards to fullness and vitality.

Poor sleep can make you fat If you are regularly getting less than six or seven hours sleep each night, your body will respond by decreasing the sensitivity of your insulin receptors.

This means your insulin levels will increase and with that compromise your body’s ability to burn and digest fat. Sleep deprivation will alter metabolism and stimulate appetite. Behaviourally, you may look for high energy (high calorie) low-nutrition snacks to get through the day. Biomedically, a lack of sleep will reduce leptin, the hormone that signals fullness, to the brain, and decrease ghrelin which makes you hungry. The rate of obesity is higher in those who are sleep deprived. Include adequate sleep in your weight loss plan. Waking up grumpy does more than cloud your day.

Personality and a tailored approach US researchers from the National Institute of Ageing found people who are impulsive (by far that most prevalent characteristic), cynical, competitive or aggressive were more likely to be overweight.

This long-term study suggests that behavioural therapies are vital for people facing the weight loss challenge. By understanding these traits with the help of a counsellor or other health professional, achieving a more profound and lasting lifestyleorientated change to eating habits may be possible – and a psychological robustness that has positive effects in other areas of life.

A study in the American Psychological Science journal, found that women who write for 15 minutes each day about their most important values (relationships, children, music, and so on) lost more weight that those who did not. Selfintegrity and how we feel about ourselves can have a significant effect on weight. Feeling good and seeking pleasure is a weight loss strategy

that can have many beneficial effects.

Real pleasure comes from treating the body with upmost respect and supporting it to function at its optimal level. Looking after the body by eating well and exercising can foster a sense of joy and create a positive spiral upwards that is both sustaining and supportive of your weight loss goals. Research shows a happy person tends to make better food choices overall and treating life as a source of pleasure is a wonderful way not only to enjoy a healthy weight, but also make the most of each day. Healthy food need not be boring; dark chocolate consumed regularly leads to a healthier weight. What you eat occasionally such as foods of the festive season need not be a problem, provided you have a healthy diet generally. Enjoyment can be viewed as a necessary part of any weight loss program, and integral to a healthy lifestyle.

Professor Avni Sali is Founding Director of the National Institute of Integrative Medicine (NIIM) niim.com.au

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16

the adelaide REVIEW DECEMBER 2012

education advertising feature

Positive Education

Learn French the easy way

N

S

cotch College believes that education of the whole child involves a mix of traditional and innovative academic instructions for life long learning and the nurturing of the moral, physical, socialemotional and spiritual elements of human development. Scotch College maintains that wellbeing is central to learning.

Scotch is committed to Positive Education and applying the principles of positive psychology in all areas of the organisation. Scotch is committed to ensuring that all staff, and the broader Scotch community, has access to information about positive psychology and its impact on the culture of the school.

A growing body of research supports Scotch’s belief that the college can, and must, teach skills and provide opportunities that increase positive emotion, engagement, positive relationships, meaning in life and accomplishment. Dr Martin Seligman’s model is called PERMA. (P) Positive Emotion (E) Engagement (R) Positive Relationships (M) Meaning (A) Accomplishment In adopting PERMA, Scotch College: Improves the wellbeing of the students and staff such that individuals and groups flourish.

Adopts a comprehensive range of signature positive psychology practices within the classroom.

Uses a strengths-based approach when working with children, focusing on what is right with them, acknowledging their abilities and taking an interest in their aspirations.

Motivates the children and helps them to improve in school by encouraging them to

embrace a love of learning and the resilience to remain optimistic in the face of adversity.

Promotes the optimal functioning of young people.

Provides opportunities for students to experience positive emotions such as inspiration, pleasure and peace, as these are important to their wellbeing. So too is a sense of engagement. Students can experience a deep sense of engagement when working on projects that genuinely interest and challenge them, participating in sports and learning new skills. Feeling connected in some way to a cause bigger than oneself and having

a sense of purpose is also integral to student wellbeing. So, volunteer work and performing acts of kindness are part of the broad school experience. Finally, accomplishing things in life can contribute to a sense of fulfillment. Scotch values this and encourages its students to achieve in a range of areas and to strive to reach their personal best.

ot good at French? No worries! Look no further than the Alliance Française d’Adelaïde!

“I have never been good at learning languages.

For some people, it comes easy, for others like me, it’s a struggle,” says Jean-Christophe Trentinella, the new director of the Alliance Française of Adelaide. “This has helped me to put myself in my students’ shoes when I was a teacher, and as a director I make sure that we address all of our students’ needs, in particular those of our secondary school students.”

The Alliance Française d’Adelaïde is not just any kind of French language school; it is THE French language school in Adelaide. Learning French has never been more enjoyable, easy and rewarding!

In order to learn efficiently, teenagers need to not only be engaged, but also entertained. The team of young, vibrant teachers have a real talent when it comes to transmitting their passion for French because as Montaigne said, “Teaching is not filling a vase, it’s lighting a fire!” Not only do the students acquire French language skills but also a confidence, a curiosity and a disposition for learning that they will keep throughout their entire life. Alliance Française d’Adelaïde believes that is what teaching a language is all about!

The only Ethnic School (part of DECD) in South Australia to teach French, Alliance Française d’Adelaïde is accredited by the SACE Board of South Australia. This means that your Year 11 or Year 12 student can undertake the SACE Stage 1 and/or Stage 2 French Continuers’ subject at our school, with the results counting towards their final SACE Certificate. With the care that is taken in having small classes with dedicated and experienced teachers, our SACE students are able to achieve excellent results each year.

Alliance Française d’Adelaïde also offers extension classes for students in Years 8 to 12 for students who may be studying French at school, but who require or desire extra contact with the French language.

That’s not to say that Alliance Française d’Adelaïde doesn’t accept students who are not already doing French elsewhere! Everyone is welcome.

Alliance Française d’Adelaïde is proud to boast a special Year 12 IB class for students undertaking the more and more popular International Baccalauréat curriculum. This class is designed to boost both these student’s written and oral skills in order to achieve the best possible results!

Not available during the term? Alliance Française d’Adelaïde offers holiday courses for both SACE and IB students in year 12 during each holiday break – the next session running from January 14 to 18, 2013. These courses run over for three hours per day for five consecutive days and are designed to intensively enhance your student’s skills.

For up to date information on all Alliance Française d’Adelaïde courses, social and cultural events, log on to af.org.au or call 8272 4281. scotch.sa.edu.au

Learning French has never been easier!

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We offer a challenging and rewarding environment where your daughter’s unique talents will be pursued to their full potential.

A range of academic, general, boarding and music scholarships are available for entry into Walford in 2014. On-line applications are now open and full details are available at walford.net.au For further information, or to arrange a school tour, call 8373 4062 or email admissions@walford.sa.edu.au

Walford Anglican School for Girls Inc. 316 Unley Road Hyde Park South Australia 5061 | Telephone. 08 8373 4062 | Fascimile. 08 8272 0313 | walford.asn.au

18

the adelaide REVIEW DECEMBER 2012

advertising feature

Jubilee - a time of celebration

W

alford Anglican School for Girls celebrates 120 years of education for girls in January 2013. A program of special events and celebrations is planned to commemorate this wonderful achievement throughout the year.

The history of Walford Anglican School for Girls is fascinating and its development into the flourishing school that it is today is testament to the extraordinary leadership provided by the Headmistresses and teachers from those times. In September the Walford community welcomed only the eighth Principal in 120 years, Ms Rebecca Clarke. Ms Clarke had previously served as the Deputy and Acting Head of Woodcroft College and returned to Walford where she had been the Head of Middle School. “I am fortunate to have worked with many of the staff and students in the past when I served as Head of the Middle School. Walford’s community is very special in that all who are part of it contribute to its warmth and generosity of spirit and I am keen to ensure that I work to maintain and contribute towards this positive culture,” Ms Clarke commented.

Rebecca Clarke is a passionate advocate for independent girls’ education and she is highly committed to creating opportunities for girls to excel. “Walford’s culture is one which values hard work and aspiring to achieve one’s personal best and I see my role as critical in facilitating the conditions which will allow this to continue,” she says.

Miss Lydia Adamson opened the doors to her school, which was held in the front room of her family home in Malvern on January 30, 1893. The first advertisement calling for enrolments was published in The Register newspaper on December 23, 1892 and then again on January 25, it simply read: MISS ADAMSON, UNLEY ROAD, MALVERNSchool opens Monday, January 30.

Private lessons given in Music and Drawing.

On Wednesday, January 30 2013 when the students return to start the new school year a birthday party for Walford will be held to celebrate this wonderful occasion.

As is often said, it is the people who give an institution its character and strength and make it successful. Walford is grateful to its strength of leadership, quality of teachers and the loyalty of its remarkable old scholars who have made it the fine school that is celebrating 120 years.

walford.net.au

Fee Free* Language Courses Certificate II in Italian, Spanish, German, French, Mandarin, Vietnamese, Indonesian or Japanese Get the essential language skills at TAFE SA to enrich your travel experience.

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Visit: www.tafesa.edu.au/Languages or phone 8207 8458 *Skills for All subject to eligibility. This course is funded through the Government of South Australia’s Skills for All initiative.

the adelaide REVIEW DECEMBER 2012

19

education

At Scotch, we believe in the fundamental relationship between a student’s well-being and the success of their learning.

positive

Teaching positive psychology courses throughout the College reinforces our commitment to fostering emotional intelligence in our students.

This teaching does not always take place in the classroom. Students in Year 8 spend time at Kyre, an eco-classroom set in pristine wilderness on Kangaroo Island. Here they gain an understanding of sustainability issues that will affect the future locally, nationally and globally. They also take part in an Outdoor Educational Program where they learn new physical skills like surfing and downhill bike riding... while fun, these activities teach resilience, personal challenge and team work.

In the spirit of continuing innovation, Scotch is at the forefront of providing positive education in South Australia.

• Limited spaces available for Reception, Year 5 and Year 8 students in 2013.

• Limited spaces available for selected year levels in the boarding house.

SCA0301

For more information or to register for a personal tour, please contact the Registrar jbourne@scotch.sa.edu.au or call 8274 4209

20

the adelaide REVIEW DECEMBER 2012

feature

Hostel stories For many migrants to Australia in the second half of the 20th century, hostels were a critical part of their transition into Australian life

Rachel A. Ankeny

E

xperiences of migrant hostels differed radically. As expressed by a former resident of the Finsbury (later Pennington) hostel: “For me it was the start of the beginning of a new life.

I was an outdoor person before I came, and Adelaide seemed to me to be very bright and airy. I have never lived anywhere else since...”

Others found that hostel life failed to meet their expectations, as vividly illustrated by a former resident of the Elder Park hostel: “Nothing could have prepared us, soft pampered creatures that we were, for hostel life. A small, narrow room with four hard beds, a tiny window that could be looked through only by standing on the rail of a bed—the view was an expanse of corrugated iron...The [laundry] water was the colour of river water—horrid brown—and smelled foul.”

What were the origins of the migrant hostels? In 1945, Australia was perceived to be suffering from a massive labour shortage and a decreasing rate of natural increase. Bolstered by the unifying experience of war, the idea that the Labor government should implement a new immigration program became an essential element of ‘reconstruction.’ As a result, numerous British migrants received government assistance under the United Kingdom Assisted Passage Scheme (1945–82), colloquially known as the ‘Ten Pound Pom’ scheme. Ultimately, Britons made up approximately 50 percent of post-war migrants, and often were housed in migrant hostels upon arrival in Australia.

However, the Australian government soon realised there were not enough migrants from Britain to meet its population goals. Socalled Displaced Persons (DPs), who were Central and Eastern Europeans dislocated during World War II; 170,000 DPs migrated to

Australia between 1947–52 as a result. These DPs immigrated on two-year indentured labour contracts, with the government agreeing to provide initial accommodation in hostels and employment.

After the success of the DP Scheme, with its boon to labour and proof that non-Anglo ‘white’ migrants could assimilate to the Australian way of life, mass non-British migration increased in the 1950s–60s. Formal migration agreements, often involving assisted passage, were made with a number of European countries. There also were intakes of refugees following various wars and uprisings including from Hungary, Czechoslovakia, Chile, Cambodia, Vietnam, Laos, Poland and Iran. Between approximately 1947 and 1983, almost three million migrants entered Australia. Although exact numbers are not available, thousands of these migrants came via South Australia, first residing in one (or more) of the 14 State-or-Commonwealth-operated migrant hostels which have been identified to date.

Migrants were housed in disused army barracks at Woodside; a former police barracks at Semaphore, and old woolsheds at Rosewater. By 1950, some accommodation was purpose-built, using army-designed Nissen huts such as at Glenelg. Hostels were located close to industrial areas such as in Whyalla, or to transportation lines such as in Gawler, located on a former RAAF site.

Accommodation was rent-free until residents found their first jobs. Some hostels were designated for families and others for single men. Hostel accommodation was supposed to be temporary (and eventually was restricted to two years); however some families stayed for several years or more on a rental basis.

While many residents enjoyed facets of hostel living, such as the communal sociability, common complaints included

South auStralian muSeum

the rough physical conditions, poor food, lack of privacy, objectionable neighbours, the disparaging attitudes of managerial staff, and the inadequacy of interpretation services for non-English speaking migrants.

During the 1950–60s, British migrants earned the sobriquet of ‘whingeing Poms’ because of frequent protests against conditions.

National passions and politics also tended to erupt in hostels; for example in 1978, a two-day riot in the Pennington hostel was attributed by the manager to faction fights between the Chinese and Vietnamese. With rent frequently amounting to 80 percent of income, protests were frequent. The first rent strike was organised at Finsbury in 1952 by the Federal British Migrants Association, which was legally represented by future SA Premier Don Dunstan. The quality and isolated locations of many hostels – characterised by demographer Reginald Appleyard as ‘squalid ghettos’ – reflected the philosophy of not making them too comfortable in order to discourage migrants from staying too long.

The last hostel to close in South Australia, and among the last to close nationwide, was Pennington in early 1990s. Little physical evidence of hostel life remains. In South Australia, the buildings previously used migrant hostels have been demolished at all but one site (the current LeFevre High School includes the buildings which were formerly the Semaphore hostel) and the sites redeveloped. Few of the sites have historical

markers (exceptions include Mallala and Elder Park) and a reserve commemorates the FinsburyPennington site. Any history of hostel life thus requires participation by former residents and provision of oral histories and artifacts by them.

A study is currently underway at the University of Adelaide – through partnerships with the Migration Museum, the cities of Charles Sturt and Port Adelaide-Enfield, State Records, and the Vietnamese Community in Australia (SA branch) and with a grant from the Australian Research Council – to reconstruct this critical phase in our local and national history and to capture the lived experiences of migrants who came through the hostel system. The Migration Museum also plans a major exhibit on hostel life to open in late 2013.

Dr Rachel A. Ankeny, Associate Professor, School of History and Politics and Associate Dean/Research, Faculty of Humanities and Social Sciences, University of Adelaide If you are a former resident or worked in a migrant hostel and would like to participate in the project by providing information, being interviewed, or loaning or donating relevant materials (photos, artifacts, etc.): Email: hostelstories@adelaide.edu.au, phone: 8313 5570, or consult tinyurl.com/ hostelstories

exhibition 8 december 2012 – 11 march 2013

Get hands-on with working models of machines that changed history.

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the adelaide REVIEW DECEMBER 2012

21

opinion / win

She knows when you’ve been bad or good Shirley Stott Despoja

H

ullo, Santa here.

Hi and that. Pumped and stoked for the Christmas season, are we?

Well, let me tell you that Santa doesn’t like those words. Unless you drop them from your answers, especially when interviewed on TV, Santa will ensure that your great-aunt gives you one of those presents that can never, for fear of lightning visits, be stashed away. Something that will really upset your Ikea décor of black-andwhite with a single red poinsettia painting. A bronze bust of Shakespeare, perhaps.

I am bringing Tony Abbott a lovely selection of purple ribbons for making women aware this year that they are feminists after all. This was a good thing. However, it has ensured that Tony’s postpolitics career as a diplomat, because of umbrage taken overseas to his m----t remarks, will have to be in Pakistan. The Prime Minister must also have a great gift from me in her stocking, something real to match the real-me that broke out on an October day in the House of Representatives. The Press Gallery will get nothing of value from me, to match their hopeless coverage of the incidents that have forced me to shell out gifts to unlikely people this year. They don’t believe in me, anyway. What do they believe in, I wonder, if they can’t give a bit of praise where it’s due? Poo to them, says my spouse, Mr Santa, the layabout with a bad back.

I have agonised over the states this Christmas. I know that in this festive and vaguely religious season they are struggling with their failure to share. Water again. An encouragement award rather than a punitive one suggests itself, but what? My grandchildren need sharing models in their childhood (yes, Santa has grandchildren, perpetually young.

How else do I know that trash trucks are good presents and that Barbie’s divorce-wear might be the latest thing?).

What is that lovely lady’s name? Isobel Redmond. I have something special for her.

The boys are never going to let you be premier, dear, so keep up the innocent truth-telling that the public rather likes and I will get some Chanel to you. How you put up with them deserves a big hug, anyway. Santa loves a tryer.

In her big jubilee year, the Queen is a girl who has everything. Alas, she has an heir about her, and it’s not the one the subjects want. Now Santa thinks she has probs thinking up good presents and bribes, but what about Elizabeth trying to think what the something special is that she could whisper in Charles’ ear to make him give up the throne to William? No chance. So Santa has for the Queen a nice Target frock for relaxing days at Sandringham. I think Charles would like Kylie under his tree, but again, no chance. I haven’t forgiven him yet.

There is something quite attractive about James Packer, since he lost some weight. Let’s give him Australia for Christmas before Gina gets it. It’s hard thinking up pressies for rich people, but Mr Clive Palmer is easy. A boiled fruit cake.

I am bringing a tie to the man outside my library who, seeing me (well disguised) on the steps, tells me to “smile, because it costs

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Selected cinemas From Thursday, December 13 A romantic comedy centered on a Woody Allen-obsessed pharmacist Alice (Alice Tagolioni) and her would-be lover Victor (Patrick Buel).

Love Story

...And on Earth, Peace

Palace Nova Eastend Cinemas From Thursday, December 6 A beautiful stranger on the Coney Island train becomes both lead actress and real life object of desire in this choose your own adventure documentary about writing a fictional love story on the streets of New York. Director Florian Habicht casts himself as the leading man in this interactive and multi-layered ode to the Woody Allen-style romantic comedy, Manhattan.

St Peter’s Cathedral King William Road, North Adelaide Saturday, December 15, 8pm Adelaide Chamber Singers present music for Christmas including works

by Handel, Charpentier and other European masters and Baroque music from 17th and 18th century Latin America.

Palace Nova Eastend Cinemas From Wednesday, December 26 Filmed over nearly five years in 25 countries on five continents, and shot on 70-millimetre film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders. Directed by Ron Fricke. Written by Ron Fricke and Mark Magidson.

nothing”. He should wear my gift while he can because someone with depression or even a seriously bad mood is going to kill him soon.

I suppose I have to hand out a year’s supply of sorries, as is the custom now. Perhaps I will say sorry to the social workers who got caught up in the forced removal of babies. Some of these highly educated, nice people – mostly women and now Third Agers – never did a thing wrong, yet their careers in retrospect have been smeared. If we are going to say sorry, we should be more specific about who exactly is to blame.

To city and local councils everywhere, I am bringing a tree. Just a tree. It’s a tiny hint that planting trees is the single most beautifying thing for any city. Look overseas. Avenues, even common streets of green this and that.

I know the general taste here is for cutting them down, but be brave, be different, plant trees. And no, gifts cannot be exchanged. Put that ridiculous statue down.

Santa doesn’t get presents. For me it is all give, give, give. But if anyone feels like offering a badly dressed, chubby woman with a white beard a thank you, I would like a picnic. A long walk, then sandwiches, cake and fruit on a redchecked tablecloth pinned with stones from the creek. Talk: happy, desultory, no phones. Then home before dark. Memories, eh?

Now I’m off. A long, tiring trip ahead. Mr S says I have only myself to blame for resisting sleighdrones. His heart never was in the job, was it?

Bundaleer Festival 2013 Bundaleer Forest, Jamestown Friday, March 22 to Sunday, March 24 Bundaleer Festival is a weekend of irresistible entertainment under the canopy of the magnificent Bundaleer Forest, which compasses jazz, percussion, opera and musical theatre. It includes performances by the Adelaide Art Orchestra (and soloists Greta Bradman and Rosario la Spina), State Opera Chorus and the Bruce Hancock Septet.

Bushfires can happen any time.

It’s important that you have a Bushfire Survival Plan, understand the Fire Danger Ratings, know your local conditions and listen to your local radio station to keep updated.

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22

the adelaide REVIEW DECEMBER 2012

fashion

A family tradition Stepping into the role as Henry Bucks’ Managing Director in late September, Tim J Cecil continues a five-generation tradition of keeping the elite menswear company in family hands, as his ancestor Henry Buck opened the first Henry Bucks shop 122 years ago.

C

ecil was in town to visit the Adelaide store when The Adelaide Review caught up with the new Managing Director, who took over as MD from his uncle Tim in September. Cecil was, and still is, Merchandise Director, before taking the main job. Cecil says there won’t be a huge change in direction with him at the helm.

“We’re a 122-year-old business and we’ve got a definite image, heritage and style,” Cecil explains.

“It’s just making sure that we evolve with the times and stay relevant, and stay important to our current customers while also attracting the new guys to come in and find out what we’re all about.”

Given its traditional image, how does Henry Bucks attract the next generation?

“It’s a good time in the sense that what we do is very, very traditional but that’s sort of in fashion

at the moment. It’s funny, we’ve never sold so many bowties as what we are at the moment and brogue shoes and all of those traditional things where there’s a slightly different take on them. It’s fairly traditional but it’s quite popular with the young guys, so it has attracted a new customer and there are certain products where we’re the only ones crazy enough to carry them, so it gives us a quirky uniqueness.”

Aside from the quality suits, polo-inspired casual and sportswear, Henry Bucks carries gentleman’s items you don’t find anywhere else such as sock suspenders, braces, canes and handmade umbrellas from England. It is old school, but the old school preppy look has been in vogue for some time now.

This summer, Cecil suggests there are lots of colours coming through in shirts, polos and shorts.

“We’re selling a lot of coloured chinos. The

Henry Bucks 193-195 North Terrace henrybucks.com.au

Charms from $29.95 Affordable luxury men’s fashions

Norwood, Ph: 8331 0828 Burnside Village, Glenside, Ph: 8338 5677

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like us on facebook

221 Unley Road, Malvern P: 83737788 E: style@miels.com.au www.miels.com.au

the adelaide REVIEW DECEMBER 2012

23

fashion red and the green chinos are really popular at the moment paired up with an unlined blazer.

Nice for summer but still fairly smart and classic but with a bit of quirk with a bowtie or bright coloured checked shirt.”

Cecil admits Bucks isn’t cheap, as the store is careful about selling quality items.

“We’re not going to put something with our name on it or stand behind something that we feel is inferior just because of the price. We source some very nice product out of Italy where we retail suits for about $995 and sport jackets from $695$795 and for a tailored garment out of Italy, with the Italian fabrics and very good quality fabrics, I think the value is very good. We are conscious of this but we don’t want to step on our values to just be offering a cheap suit because for us it’s a bit of a false economy, we don’t really feel like we’re offering value if it’s a throwaway garment.”

Aside from the quality, Cecil says an important factor to Bucks’ success (six stores in three states) is their relationships with their customers.

“At the end of the day the reason people shop with us is because they can have this relationship and it’s a long term thing and men in particular aren’t natural shoppers. They need to feel comfortable where they go and once they do feel comfortable and build a good rapport they tend to be creatures of habit. We’ve got to attract customers – and it’s not the easiest time in retail globally and it’s bad in Australia but it’s a lot worse overseas – so it’s about nurturing that customer.”

What’s in Bucks’ favour is that you can’t get measured and fitted for a tailor-made suit or garment over the internet.

“You really need to have proper advice and fitting and thankfully that can’t be done entirely virtual these days. I’m sure it’s coming; soon you’ll walk into your wardrobe and lasers and cameras will take pictures of you and send you a suit and it will fit perfectly,” Cecil laughs.

Cecil hopes to expand within the next five years.

“We are still, even though we have six stores, a niche business and the Australian market is not infinite; we’re a small population but there are opportunities out there. We’d like to grow but our primary focus is making the most of our current infrastructure because we think there’s potential in that. We’re 122 years old but the best is yet to come.”

Miels not stuck in the past

M

iels est. 1977 have been around a long time, but have evolved and continued to raise the bar for men’s retailers. A recent change of address, new shop fit designed by Swedish architects and eye catching fun windows, suggest

Henry Bucks

Miels est.1977 221 Unley Road, Malvern miels.com.au

12 FASHION /12

RENDEZVOUS Gilles Street Grand Bazaar Sunday, December 2 (10am-4pm) Gilles Street Primary School, 91 Gilles Street, Adelaide

For one day only, Gilles Street Market extends onto Gilles St for Adelaide’s ultimate market extravaganza. The bazaar will host more than 130 fashion and designer art and craft stalls, delicious catering and live entertainment.

Resident DJs will continue to spin the tunes in addition to live acoustic sessions presented by Adelaide’s local live music scene, The Jam Room. gillesstreetmarket.com.au

Shop online at www.henrybucks.com.au or to receive your free catalogue ring our freecall number 1800 651 399 and we will post you a copy.

Full of quirky, whimsical and sometimes quite seriously beautiful gift ideas for everyone you know, and even self-indulgently, for yourself.

193-195 North Terrace, Adelaide. Phone 8232 1890

this is a unique shopping destination. The current window display is bringing the beach to Unley Road. The Miels family have been working nights and weekends in their backyard shed to create brightly coloured beach huts, then transporting and assembling them in the store.

The huts are essentially props to complement their men’s summer fashion, but it is hoped these striking coloured huts will put a smile on the faces of all who pass. The huts will feature a Christmas theme in the weeks to come.

24

the adelaide REVIEW DECEMBER 2012

chapel street feature

Old-fashioned service never goes out of style There is something the businesses on Chapel Street, Norwood all seem to have in common and that is the philosophy of good old-fashioned service.

It’s a quality that is rare in this fast paced digital era.

Jane Llewellyn

“

I’m going back to the old school service, that’s what it’s about. Everything has become online and cold,” says Carolyn Foord owner of Stylelab – The Warehouse, the newest business on the block. But this is not to suggest that these businesses are behind the times, in fact quite the contrary.

Take Foord for instance. At a time when retail is feeling the pinch she has expanded her business by opening the warehouse-style showroom on Chapel Street and launching the Wild Child Stylelab online store, “I felt I had to, to keep up,” Foord says. In addition to Wild Child stores on King William Road, Hyde Park,

style lab opening The Chapel Street furniture, fashion and design locale, Style Lab – The Warehouse, opened its doors on Friday, November 2.

Photos: Jonathan van der Knaap

the Parade, Norwood, and O’Connell Street, North Adelaide, Foord also owns the furniture store, Church Studios at Alberton. Stylelab – The Warehouse incorporates all of Foord’s creative passions under one roof.

“It’s furniture and fashion. I will style your home and your wardrobe. It’s a relaxed environment where people can come have a glass of wine, look at the whole collection on the big screen and order online,” explains Foord. The Warehouse is also the central distribution point and office for Wild Child, there is a photographic studio and they manage the online store from there.

Foord has been in Fashion for over 30 years, starting out with Toffs on King William Road, Hyde Park. She says: “I have been in this industry

for so long and I have seen retail change so much.

I’m trying to give people something ‘other’, giving them great service and making them feel welcome and comfortable.”

It’s a unique concept, in an impressive space – Foord converted what was an ugly old workshop into this stunning showroom. She says of the location: “I love it around here. It’s a cute little back lane.”

Rosa Barbaro was also attracted to the back lane aspect of Chapel Street when she relocated to Adelaide from Brisbane and set up the cafe Espresso Classico about a year ago. “In Brisbane and even in Sydney and Melbourne it’s really huge to be in the back streets whereas here it’s really quite unknown. It’s new territory,” she

the adelaide REVIEW DECEMBER 2012

25

feature says. While the location might be edgy, at the same time Barbaro has gone back to basics. She describes her philosophy: “Good old fashioned service. We bring everything out to your table.

We have gone back to basics here. We have kept it simple. We are not trying to be everything to everyone. We are just being true to ourselves, just good food and good coffee.”

With new businesses and residents moving into the area Chapel Street is evolving and becoming increasingly popular. Barbaro explains the charm: “It’s because it is really central, quite accessible (we have a huge car park next door) but we’re not in the thick of it, we’re not mainstream.”

Along side these new businesses are those that have been enjoying this central location for a long time, like the family owned Caleche Bridal House, which has been operating on Chapel Street since 1984. “At the time it was quite an industrial place. There was no one except for a few old people living in a few old houses. We are now seeing the street becoming increasingly pedestrian and housing friendly. I think more restaurants and cafes will pop up,” says Eric Foubert, one of the second generation Fouberts who now run the business.

Caleche Bridal House is located on the site that gives the street its name – so the tale goes.

According to Foubert: “It’s situated on the site of the first chapel in Norwood so it’s fitting that a bridal shop sits where there used to be a chapel where weddings were once held.”

Foubert, like Foord and Barbaro, focuses on personalised service and his family’s 40 years in the business is testament to this philosophy.

He says: “Customers get to experience personal attention. At the same time we are big enough so we can deliver a quality product at an affordable price. We offer a lot of choice without the pressure. Our reputation is based on the quality of the product and our service.”

They all agree that it would be great to see more businesses move into the street. Barbaro says: “It would be great to see more boutiques. I want to see edgier, different businesses.” Foord agrees: “It would be great to see more retail and some interesting and creative spaces.”

Rather than seeing it as competition they see it as adding to the landscape of the street. Foubert says: “We welcome that happening.” Barbaro adds: “We work together. I’m always in there [The Warehouse] and she [Foord] is always in here [Espresso Classico]. We try and feed off each other – who our customer is and who is walking down the street, how would they dress what would they want to eat.”

Wild Child Stylelab – Warehouse 18 Chapel Street wildchildstylelab.com.au Espresso Classico 33 Chapel Street facebook.com/pages/Espresso-Classico Caleche Bridal House 43-45 Chapel Street caleche.com.au

THE WAREHOUSE

18 CHAPEL ST. NORWOOD 8362 1432

OPENING HOURS MON 10 > 5.30 TUES 10 > 5.30 WED 10 > 5.30 THURS 10 > 9.00 FRI 10 > 5.30 SAT 10 > 5.00

showroom.FASHION.FURNITURE.ART

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the adelaide REVIEW DECEMBER 2012

performing arts

The Russians are coming Opera may never be the same if an entirely new concept from Moscow takes off.

Graham Strahle

W

ith our time-poor lifestyles and fractured listening habits, perhaps it is time today to have a rethink of that most venerable of art forms, opera. Maybe all those arcane legendary stories, park-and-bark arias, and clunky acting spread across two long hours, simply have no place in the modern world. If so, one of Russia’s leading opera companies, Novaya Opera, may have a perfect solution. Their approach, which Australian audiences will see for the first time when the Moscow company visits in April, is to eliminate opera plots altogether and compress favourite moments from Puccini, Verdi, Bizet and Mozart into one fast-moving, seamless theatrical presentation.

OperaMania is the name Novaya Opera calls its innovative semi-staged show, and manic it promises to be, in speed, timing and flow of action. Ten solo singers and four dancers from the Russian Imperial Ballet will appear on stage, and an orchestra of 44 musicians behind them, making 60 artists all up on stage. With lightning quick costume changes for each scene, the show will zip through two to five minute excerpts from over a dozen composers.

There has been nothing quite like it in opera.

“The thing that excites me is that this is a unique way of presenting opera,” Anthony Steel says.

The director of five Adelaide Festivals and three Sydney Festivals brims with enthusiasm as he describes how he helped set up OperaMania’s first Australian tour.

“All those I’ve spoken with about it have got the point immediately,” he says. “All have said this a wonderful way of introducing people to opera. It seems absolutely ideal to me. Some audiences are a little uncertain about sitting through a full-length opera by one composer, so here’s their opportunity.

Opera buffs will love it too, not least because, as far as I’m aware, this is the first time a Russian opera company will have visited Australia.”

Steel once brought out half a dozen soloists from the Bolshoi Opera, for Brisbane’s World Expo 88. “But this was far short of having an entire company,” he says. He rates Novaya Opera as one of the very best: “It is a really high quality company, amongst the top four in Russia. They do fascinating things, they have an absolutely wonderful set of singers, and their production values are terrific. They’ve taken this show to many European countries with great success.”

Steel’s connection with Novaya Opera came about because he speaks Russian and happened to meet the company’s tour producer, Gennady Polluck (aka Poleshchuk) on two occasions. “He builds apartment blocks around Moscow and is an amateur in the arts; but he’s exceptionally knowledgeable,” says Steel. This connection in turn led to Steel becoming Novaya Opera’s ‘Australian secretary’ – “that’s what I call myself,” he chuckles.

The brainchild of Valery Raku, Novaya Opera’s resident stage director, OperaMania is a cleverly executed concept, Steel believes: “Raku has made this program up very carefully. One can tell he has put enormous thought into it.”

Raku himself sums up what OperaMania is all about: “This program, made up of an uninterrupted series of excerpts carefully chosen to move between comedy, tragedy and lyricism, is performed by singers and dancers in full costume, against a background of colourful lighting and moving images that illustrate the character of the music, and to the accompaniment of the orchestra. The items are short and flow without pause from one to the next in a fast-moving production that offers a kaleidoscope of many of the best-known and mostloved pieces from opera, ballet and symphonic music and reflects their depth and diversity.”

The production’s speed can be judged from two medleys in each half. The first, comprising Chopin waltzes, Liszt’s Liebestraüme and Rachmaninov’s Prelude in C-sharp minor, lasts a mere two minutes. In the second half, a ‘Mozart medley’ consists of movements from his Piano Concerto No. 21, Symphony No. 40, Eine kleine Nachtmusik, and the overture to The Marriage of Figaro. It all takes less than three minutes.

“It’s an extraordinary list of music, a veritable whirlwind,” says Steel.

Novaya Opera, located a few minutes’ walk from Moscow’s Red Square, dwarfs what we are used to in this country. It is a nearly 800-strong organisation with a roster of 80 soloists, four resident conductors, two orchestras, and a permanent touring arm. Founded in 1991, it just pips the smaller, more experimental Helikon Opera as Moscow’s newest opera company, and it is known for its superlative productions of Tchaikovsky and Mussorgsky, and for the originality of its staging. It also does many concert versions of operas and has created a unique genre of its own – semi-staged composer tribute shows.

Could this be a prelude to bigger things, when we see a Russian company bring a fully staged opera production to Australia? Steel is optimistic: “If OperaMania is a great success, we might see that. Yes, it would be wonderful; but it has to be one step at a time.”

OperaMania Adelaide Festival Theatre Thursday, April 4 and Friday, April 5 operamania.com.au

the adelaide REVIEW DECEMBER 2012

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performing arts

Alex Parry

A

delaide’s Botanic Park, transformed into a multicultural bohemian wonderland for WOMADelaide 2013, will not be the most unique setting for French band Moriarty.

The six-member alternative folk/blues/rock outfit has performed in an intriguing range of venues since their foundation in the mid90s, from prisons to castles to tiny basement bars. However, with a staple crowd of tens of thousands in Adelaide, WOMAD will top their performing repertoire in scale. “It’s very exciting, we have never been part of an international festival that big,” says singer Rosemary Moriarty.

The travelling musical ‘family’ includes Rosemary (singer, xylophone, thumb piano, spoons, tambourine, scotch-tape trumpet), Zim (double-bass, acoustic guitar, music box, suitcase drum), Thomas (harmonicas, kazoo, Jew’s harp), Charles (electric and resonator guitars), Vincent (drums, double-bass) and Eric (drums). Childhood friends from Paris, each has adopted the surname Moriarty in tribute to the main character from their favourite novel, On the Road, by Jack Kerouac, which documents the road trip of young Americans across the United States in the late 40s against a backdrop of music and drugs.

is a Lonesome Town, which sold 70,000 copies in France. “The song spoke to a lot of people, because who doesn’t have a grandma or relative who left home and never came back? Sometimes they have a good reason, sometimes they regret it all their lives.”

The band explores family, travel and the quirkiness of artistic life against their ancestry in France, Peru, Switzerland and Vietnam. WOMAD audiences will pick up their inspirations from the Rolling Stones to The Cure and Debussy, and relax to the more gentle melodies of their tracks Cottonflower and Enjoy the Silence.

The musicians’ spontaneity and eccentricity

will delight WOMAD-goers who appreciate diversity – and show that something good can come from being misfits. “It makes you creative,” says Rosemary. “The in-between is something else and you express it, you invent something that makes you comfortable in the world. Why can’t we have everything?”

WOMADelaide Friday, March 8 to Monday, March 11 womadelaide.com.au

adelaide chamber singers

CARL CROSSIN Director

Moriarty

The last member to join in 1999, Rosemary, says the family dynamic of the band is obvious onstage.

“The audience feels like we know each other really well. We feel each other without looking at each other, the energy.” Speaking from a Parisian apartment not far from Montmartre, Rosemary explains in her charming, matter-of-fact way that the band’s style has changed many times since its inception. From electric blues and rock covers, she points out the progression to “cutting all the wires” and turning completely to acoustic sounds and more original work. “When I came into the band there were only two songs that were written,” she says. “We started to write songs all together. I don’t know if I inspired them to do that. I hadn’t written songs before, maybe some poetry in French, but not songs. We had this little basement on Ile StLouis in Paris – nobody lived in the apartment above. We would sit there writing and playing twice a week in this ten-metre square basement, like a little spaceship.”

Indeed, what was generated in that space began to reflect more closely the personal heritage of the group. The musicians were mainly raised by American parents in France and knew intimately the confusion of belonging wholeheartedly to two cultures – a conflict felt particularly sharply in Parisian schoolyards. “People like to pigeon-hole everything. When you’re at school either you’re French or American,” says Rosemary. “When we met later, we all had something missing. You can’t be 100 per cent of something and 100 per cent of something else.” A sense of displacement is the inspiration behind the song Jimmy on the highly successful album Gee Whiz But This

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the adelaide REVIEW DECEMBER 2012

performing arts

...And on Earth, Peace All 16 core members of Adelaide Chamber Singers will be performing alongside a guest string ensemble, a harpsichord player and organist when they present the Christmas concert ...And on Earth, Peace at St Peter’s Cathedral later this month.

“

The concert will range from the familiar through to the not so familiar,” director and conductor Carl Crossin says. “So there will be the Christmas portion of Handel’s wellknown Messiah alongside some Latin American baroque music from the same period composed

by Juan de Araujo and Francisco Lopez Capillas.

“They were Spanish and Portuguese composers who based themselves in the new world in such places as Mexico, Brazil and Bolivia,” he explains.

Crossin is full of enthusiasm about their venue of choice.

“St Peter’s Cathedral is a glorious place to sing and has a wonderfully warm resonance and great acoustics,” he states. “We love performing there because it also has a wonderful sense of place.

St Peter’s is also where we will be holding next year’s Christmas concert, Deo Gratis.

“This year’s Christmas concert ...And on Earth,

Peace was a very conscious decision to present the familiar along with new things as has always been our way. We like to introduce our audience to new music alongside the more familiar. And if there is any sub-title to ...And on Earth, Peace it’s that it is a baroque Christmas concert because all the music on the program comes from Handel’s time or earlier.”

Crossin is equally excited about Adelaide Chamber Singers’ 2013 season that will include three concerts (Tales of Two Cities, Procession and Christmas concert Deo Gratis) at Crafer’s Church of The Epiphany.

“We wanted a companion subscription series in the Adelaide Hills so we looked around for venues. We went out to Mt Barker, Woodside and Harrowgate and all sorts of places before settling on Church of The Epiphany in Crafers.”

“We have performed there in the past but it’s just such a beautiful venue in which to base our new Adelaide Hills series,” he concludes.

A big thAnk you to All our supporters, pAst And present, As we wrAp up Another yeAr of greAt concerts At

Adelaide Chamber Singers ...And on Earth, Peace St Peter’s Cathedral, North Adelaide Saturday, December 15 at 8pm

This month The Adelaide Review’s guide to december’s highlight performing arts Jersey Boys Continues until Sunday, December 16 Festival Theatre jerseyboysaustralia.com.au

The Jersey Boys juggernaut keeps on keeping on but like all good things it must finally come to an end. The popular musical about the good ol’ Jersey boys Frankie Valli & the Four Seasons finishes on Sunday, December 16.

A Baroque Christmas Saturday, December 1 Elder Hall adelaidebaroque.com.au

Jersey Boys

Robert Dunstan

Adelaide Baroque’s final concert of 2012 will focus on composers such as Bach, Biber, Caccini and Charpentier and their interpretations of the Christmas story. A Baroque Christmas will be held in Elder Hall’s newly created space for chamber music.

Sunday, December 2 Entertainment Centre clubdevo.com

f o r d e tA i l s C A LL ( 0 8) 8313 5925 o r e m A i l c l a i r e .o r e m l a n d @a d e l a i d e . e d u. au www.elderhAll.AdelAide.edu.Au

This tripled-headed monster of a bill promises to deliver 80s anthems and pop masterpieces all night long with electronic pop pioneers Devo headlining with Simple Minds and Australia’s The Church backing up the Whip It and Beautiful World creators.

Regina Spektor Sunday, December 16 Adelaide Entertainment Centre Theatre reginaspektor.com

Classically trained folk oddity Regina Spektor is in town to tour her latest album What We Saw from the Cheap Seats.

Regina Spektor

The music conTinues nexT year wiTh lunchTimes aT e lde r hall sTarTing in march , our eve nings se ries and masTe rcl asses following from april – and The re’s someThing new on our conce rT cale ndar for 2013, so be pre pare d for a fresh pe rspecTive…

Devo

Devo, Simple Minds & The Church

the adelaide REVIEW DECEMBER 2012

Christmas Proms Christmas is coming to town, and it is swinging in at quite a pace!

Sian Williams

T

his year the Adelaide Arts Orchestra has a big band theme for its renowned ‘Christmas Proms’ conducted and hosted by Tim Sexton and featuring guest vocalists and entertainers Andy Seymour and Adelaide’s Johanna Allen. Between the two, their musical endeavours have spanned television, radio, and theatrical pursuits.

The Proms have been an enormously popular event each year and as the handpicked artists featured, Allan and Seymour have been offered the opportunity to lead one of the end of year’s most successful and loved shows.

“I perform many styles of music,” Seymour says, referring to his role as Elvis in the popular

music theatre The Gospel According to Elvis. “But to be invited to perform in the Christmas Proms in your home town, well that’s really special.

And I just adore big bands,” he exclaims with glee, recognising he will be working with fellow musicians within the Adelaide Arts Orchestra, our own big band ensemble.

“Whilst I have not performed in this show before, it really is an honour. Each and every performance is always sold out - definitely a family event. I have spent the last few years interstate and also in Vegas; America sells itself as being the Promised Land, but you know, there is no where I would rather be than home for Christmas.”

Also leading the event is Adelaide’s Johanna Allen, internationally recognised for her many appearances including her most recent roles with Opera Australia in Pirates of Penzance, and the wildly popular Wicked. Johanna tours internationally as well as in and around her home town focussing on not only her performing timetable but also as a respected vocal coach and mentor for many well known televised talent shows.

Make a date for summer’s feel-great comedy hit!

“UTTERLY ENDEARING... as lively and wonderful as Paris in Spring.”

LE FIGARO

“SO CHARMING! An absolute delight.”

STUDIO MAGAZINE

Christmas Proms Thursday, December 13 to Sunday, December 16 Her Majesty’s Theatre adelaidefestivalcentre.com.au

Cinema

Skyfall (M) Nigel Randall The challenge for this review is the same that was possibly faced by Sam Mendes in tackling the newest and 23rd Bond film in the 50-yearold franchise (and incidentally by another institution of British pop culture celebrating their Golden Jubilee) – namely to provide a new perspective on something known to the point of over familiarity. I could be overstating my case, but hopefully just as Mendes and the Stones succeed, so too will I in proving my case.

Skyfall more than succeeds, it triumphs. Daniel Craig picks himself up after the mess that was Quantum of Solace and promptly places himself in the hands of a character focused, yet wry minded and mature director. This is Bond as we haven’t seen him before. Yes there’s topless shots galore as is assumedly written into Craig’s contract, but we see much more than his bloody, well defined torso. In one scene he takes to one of his pumped up pecs with a knife, literally digging deeper into what makes Bond tick. He is weary, embittered, embattled and even vulnerable and Craig plays it with the perfect balance of grunt and grimace. Javier

Bardem’s appealingly creepy villain is the perfect encapsulation of a present day cyber terrorist and evil incarnate mirroring Bond to intriguing effect.

Ben Whishaw is also cast as Gen Y’s choice for Q. This is a Bond for now. The narrative revolves around questions of both Bond and M’s aging ability to uphold their service; the baddies are from within and there’s a self-conscious embellishment and simultaneous abandonment of Bond-esque trademarks. Least of these is the character of M herself (Judi Dench), who is fore grounded in the story as a Freudian focus for both ‘tagonists. It’s a strange and compelling mix of elements. The comic book capers are all there, together with the bombs and babes, but are tempered by the more modern plot points and character back-story. It at once propels Skyfall forward into a new Bond era yet takes us back to his previously unseen roots.

Ultimately what are stripped away are the emblems of modernity, the gadgetry and even guns, resulting in a deliberately slowed down and drawn out finale that is less concerned with the snappy style of action blockbusters and more with intelligence, grace and wit. And that’s saying nothing of the other heroes, namely cinematographer Roger Deakins, writers John Logan, Neal Purvis and Robert Wade, composer Thomas Newman and so on and so on…

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the adelaide REVIEW DECEMBER 2012

performing arts

PARIS-MANHATTAN (PG) D.M. Bradley While the title, overall mood and ads suggest that this is to be rather like Woody Allen’s Manhattan (1979), it’s actually, and somewhat oddly, more reminiscent of the Woody-penned-and-starring, Herbert-Ross-directed Play It Again, Sam, only suitably Frenched-up and with Woody himself, seen on a poster taken from his 60s/70s prime and heard in dialogue grabs borrowed mostly from Manhattan, instead of a trench-coated Bogart lookalike.

Terminally single français pharmacist Alice (Alice Taglioni), preparing to take over her Jewish-French Dad’s business, is the one here obsessed with Allen’s body of work and seeking his pseudo-supernatural advice about personal matters (“You know what Freud said about life?”).

Feature-débuting writer/director Sophie Lellouche searches for what exactly to do with her curious heroine (including a fairly risible flashback or two)

for quite a while, before Alice finally meets the guy you just know is her perfect match, Victor (Patrick Bruel, a popular actor and singer in Europe, and underplaying nicely). And, although Victor is heroically undaunted by Alice’s assorted neuroses, and doesn’t seem concerned that she, for example, advises that criminals watch Woody classics to get over their anger issues, and proves to be a security expert too (get it?), the pair have to keep on not quite connecting for the increasingly frustrating narrative to work properly, and Lellouche, it must be said, tends to noticeably draw out the proceedings – even though, in the end, this one’s barely feature length.

Obviously, and unsurprisingly, operating in something of a fantasy world (the hyphenated title appears in the opening credits sequence over a shaken snow globe, which seems appropriate here), much like almost any other given romantic comedy, French or otherwise, Lellouche’s watchable, if at times twitty, effort doesn’t really bother answering the big questions – like why Alice, a highly intelligent, sensitive and spirited femme who looks like a Parisian Elle Macpherson, could possibly have trouble getting a date, and prefers to just go with fluffy gags, the stars’ charms and various cute Woody references (including a lengthy clip from Hannah and Her Sisters with daft French subtitles). And if, at this late moment, you don’t know, or somehow can’t guess, the ‘twists’ here, then maybe you should make this the only review of Paris-Manhattan that you read or, alternatively, pat yourself on the back for not having had to suffer through the other 6378 romantic comedies that got us here. Formidable!

adelaide chamber singers Carl Crossin – Director

...AND ON EARTH, PEACE

Marc Antoine Charpentier Domini In Nativitatem Canticum ti ris Nostri Jesu Ch ick Handel George Freder from Messiah ic Christmas mus jo Juan de Arau estleya la de es Los conflad nificat z Capillas Mag Francisco Lópe ore glorious ...and much m ristmas Ch of ic mus

15 DECEMBER 8pm St Peter’s Cathedral, North Adelaide

www.adelaidechambersingers.com

SAMSARA (PG) D.M. Bradley It’s been 20 years since writer/director/ cinematographer/editor Ron Fricke’s Baraka, a movingly mystical, non-narrative study of religion, and either he or the world’s got older and crankier in the interim, as this long-awaited follow-up feels considerably scarier, and more in the style of Godfrey Reggio’s ominous Koyaanisqatsi and its sequels (Fricke served as writer, editor and cinematographer upon the first of this series, and apparently perfected modern methods of time-lapse photography along the way). And while Baraka featured a ‘message’, of sorts, if a fairly neutral and ambiguous one, Samsara instead obviously means something - and something alarming.

Defined as, perhaps, ‘birth, death and rebirth’, Samsara opens with monks at India’s Thicksey Monastery creating a wonderfully intricate artwork, and then moves on to the wonderfully intricate artwork of the Earth itself, and how (although it’s never stated with voiceover or subtitles) humanity is destroying it. Volcanic ash suggests the violent creation of the planet, and then we’re globetrotting in (originally) 70mm, with footage captured in an Ethiopian village, a São Paulo cathedral, Burma (from a balloon, apparently!), the flood-ravaged New Orleans and further, before people, their strange behaviours and indulgent contemporary lives begin to intrude, and some tricky crosscutting, perhaps, fumbles once or twice in an attempt to make a point. A mass of orange-jumpsuited Filipino prisoners dance (a strikingly weird vision); mass food production is queasily depicted, and chickens are whisked around by machines (we’re spared their slaughter, however); an American mall is shown in all its artificial glory; a computer factory is glimpsed in fast motion and, although it might not quite register for some viewers at the time, there’s a quick look at a warehouse full of sex dolls; Fricke overreaches himself with women in burqas alongside huge underwear ads contrasted with barely-clothed Californian girls; the slums of various cities are edited alongside huge and glittering palaces and skyscrapers; and the natural is

continually compared with the distinctly unnatural.

Filmed over five years in 25 countries, Samsara will indubitably be condemned as a hippie-dippy/ New-Age exercise by some out there, and yet it’s, nevertheless, a beautifully cinematic experience - even if its mysterious creator seems to go ever so slightly cuckoo by the end. And you’ll certainly remember the many un-Baraka moments here where Fricke’s many subjects gaze directly into his camera and at us, as if suggesting our shared responsibility and blame in this whole gloriously terrifying mess.

LOVE STORY (MA) D.M. Bradley The reportedly German-Kiwi Florian Habicht co-wrote, co-produced, directed and stars (as ‘himself’) in this fairly unclassifiable piece of pseudo-Woody-Allen-influenced, no-budget Big-Apple love-lettering, a film that sometimes appears to have been cobbled together out of virtually nothing - or even plucked out of the air - and yet frequently proves wonderfully funny, disarmingly charming and more than a little raunchy.

We can tell that the opening scenes, which feature the oddball beanpole Habicht chasing a beautiful and mysterious woman (Masha Yakovenko) though the public transport system after he spies her carrying a slice of cake for no apparent reason, have been contrived, but thereafter it becomes harder to tell what’s real and what’s staged, and the co-writing credit for ‘The People Of New York’ seems increasingly justified. Florian, with his laptop positioned on a plank of wood over the bathtub, asks his German Dad (Frank Harbicht) via Skype what to do and, after a stunt amusingly borrowed from Desperately Seeking Susan, Florian meets with Masha and they commence a relationship that might have been real off-camera but which, also, is guided by the suggestions of friendly strangers who talk (mostly unscripted) tocamera. Hard to categorise and, indeed, at times, to get a proper handle upon, Habicht’s wry brainchild is still an enjoyable poser that deftly operates on multiple levels: it’s a chronicle of a perhaps genuine relationship between him and Yakovenko; it’s a fictionalised study of that relationship; it’s a deconstruction and/or ‘unpacking’ of the whole romantic comedy thing; there’s a vox-poppy commentary about how ordinary people (or New Yorkers) feel about sex and romance and the whole damn thing in these tricky contemporary times; and, simultaneously, Habicht’s Love Story also operates as a behind-the-scenes documentary and mockumentary about a cheekily inspired filmmaker turning out his sweet magnum opus for the price of a train ticket.

the adelaide REVIEW DECEMBER 2012

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visual arts

A feast of talent Up and coming ceramicist Wayne Mcara won JamFactory’s inaugural Emerging Designer Award, a competition focused on designs that enhanced food and wine preparation or presentation.

T

he theme of the $2000 award was a perfect way to match art with South Australia’s food and wine culture and was open to emerging designers, students and artists who completed a South Australian design training or study program during the last five years.

Mcara’s winning work – the B4 Platter – was made exclusively for the competition even though it was an extension of his Paper Plates series.

“When I decided to enter the competition I worked on a few different designs,” Mcara said.

“I felt the B4 was the most successful idea that made it out of the kiln.

“I set out to make an object that was both elegant and beautiful to use. Taking into consideration that the food going on the platter was always going to take centre stage, I chose to design a piece that was comparatively simple. Form should always enhance function.”

The Emerging Designer Award saw JamFactory partner with University of South Australia’s School

of Art, Architecture and Design, as well as The Adelaide Review. Mcara’s B4 Platter and work from the 12 finalists are showing in Gallery Two of JamFactory until Saturday, December 8.

Mcara, who completed a Bachelor of Visual Art and Design at the Adelaide College of Arts, is currently a Second Year Associate at JamFactory’s Ceramics Studio. He explains the journey of the B4 Platter from idea to completion.

“All of my ideas for the Paper Plate range, including the B4 Platter, start life as folded or curled pieces of paper. Once I feel I have refined the form I will cut and shape the piece from a sheet of hand rolled porcelain. This step changes the playing field dramatically, as porcelain is notoriously difficult, and more like working with pastry than paper.

Once bone dry, the platters are bisque fried to 980 degrees C. This process takes two days: one day to get to temperature and another day to cool. Once the kiln has cooled the platters are sanded. I with then apply a glaze and clean each piece ready to

fire again, this time to 1280 degrees C. This can take up to three days: one day for the kiln to reach temperature and another two days for the kiln to cool down. Each piece that survives all of this is then sanded again using a diamond sanding pad before being ready for sale.”

South Australian Emerging Designer Award JamFactory Gallery Two Continues until Saturday, December 8 jamfactory.com.au Danielle Rickaby, Shot Grasses, 2012

Wayne Mcara, B4 Platter, 2012

1.

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the adelaide REVIEW DECEMBER 2012

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A tender chaos Francis Bacon: Five Decades at the Art Gallery of NSW

William Charles

T

ime is beginning to afford us the distance with which to evaluate major artistic figures of the latter half of the 20th century, most of whom have now either passed away or – dare we say it – entered the final phase of their creative careers. Having just seen the recently-retired Jeffrey Smart retrospective, we also look this month at a career-long appreciation of J. M. Coetzee; Leonard Cohen is doing farewell concerts; Phillip Roth recently put down his pen. These are but some famous examples; an entire generation, shaped largely by the postwar years and the long golden afternoon of the West, is bidding farewell.

It is 20 years since the death in Madrid in 1992 of Francis Bacon. Having died before communications technology transformed our world, and before the absolute commodification of contemporary art, he seems to belong to a world already lost in the distance; a world in which he stood with Picasso as an undeniable link back to the Old Masters with their painterly genius and their overwhelming dominance of the

design + craftsmanship

canvas as locus of expression. Bacon is very much of his century, the 20th, a guide to its contortions and its triumphs. The surfaces of a Bacon canvas, seen here in sensual three dimensional detail, hold every nuance and texture imaginable; their contours map the pain and ecstatic pleasure of life, of its chance and whim, its unexpected turns; its bold truths and smooth lies. In chaos is both trauma and delight; Francis Bacon, operating beyond the guidelines laid down by an art school education – belonging rather to the ‘sacred monster’ school of artists, as Jim Sharman put it in a sparkling opening address to inaugurate this exhibition – mapped this chaos and gave us an entirely unique oeuvre, some of the highlights of which are now on display in Francis Bacon: Five Decades, at the Art Gallery of NSW. Enter here and take a deep breath. Not because you will be shocked – Bacon was outrageous in the 20th century but we are now well into the unshockable 21st – but because you will be thrilled by what lies in store. Curator Anthony Bond, in his last major show for the AGNSW, has pulled off a curatorial coup, arranging 50 of Bacon’s best

Three studies of the male back, triptych 1970, Francis Bacon, Oil on canvas, each 198 x 147.5cm.

and most representative works into a sequence of five decades, an arrangement that nevertheless transcends the typical strictures of chronology.

Bacon comes alive through the overwhelming power of the hanging itself. It allows the viewer to follow Bacon past the charred waste of the postwar years, into the censorious and pallid 1950s before the breakout, via 1961, of the exuberant 60s, the creative peak of the 70s – one of the 70s rooms, while small, is collectively as visually and emotionally monumental as anything seen in any recent exhibition – and then the final, more sobering works of the 80s when Bacon, without knowing all there was to know, nevertheless had come to know his physical and stylistic limits, had explored his formal constraints to the very edges of pain, love, abuse and beauty, and came back from that journey, full of knowledge and life lived, stepping into the space marked ‘legend’ he now occupies.

Bacon is conveniently, and quite accurately, seen as a personification of the themes of the wracked century in which he lived – particularly its British iteration. Emerging out of the smoking chaos of war came images of modernism crucified, of despair and beauty, before plunging into the strictures of the 1950s – this period of repression, want and furtive sexuality is brilliantly portrayed by one of the exhibition highlights, a very long wall of caged figures, the background hanging curtains turning to blood and to prison bars, the entrapped figures ever more anxious while over and around all is an ongoing and ever-present uncertainty, not just as regards our own sudden mortality, but of the lumbering century itself, as it staggered from crisis to crisis, finding flower only for a brief decade or two before sliding back once again, as Bacon reached his final years, into the convulsive period that leads to now. But chaos,

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the adelaide REVIEW DECEMBER 2012

33

visual arts emotional experience Bacon sought to provoke – an awakening to the glorious possibilities of life.

The visual material displayed along with the main exhibition is limited, allowing the paintings themselves to speak, largely unencumbered by parallel narratives, yet they clearly indicate the wealth of mass media material from which Bacon drew ideas and inspiration. Supplementary materials such as items from Bacon’s studio are left to a minimum, and they are all the more effective for that. Bacon’s subjects were drawn from popular magazines of every imaginable source from gay fanzines of the time to gaudy 70s trucking magazines, from cricket almanacs to documentary photography and nature documentaries, from classical art references (most infamously, Velázquez) and from medical reference books. He was fascinated by the virility of the (male) body in movement, and drew heavily from the early photographic studies of human movement pioneered by Eadweard Muybridge.

Athletic males leap from mass media origin into the frame – wrestlers/lovers, cricketers and boxers.

Much has been made of Bacon’s debt to Velázquez, discernible in the famous popes and here too in a seated dwarf figure. Perhaps this debt to the Spanish master is an over-laboured trope for art historians, but certainly, like Velázquez, Bacon could pull off a remarkable painting of a dog: one of the pieces here (Untitled [dog]), tucked into a corner, is barely three or four brushstrokes swirling on a pale green background, but is a genuine highlight for being so unexpected. Just as in many of Velázquez’s royal portraits, it is sometimes the

hunting or parlour dog that steals the show. No doubt, despite a change in direction hinted at by one of the early works on display here, van Gogh was also a constant presence.

Prominent too are a series of arresting portraits.

One of Bacon’s hopes was that a portrait would magically emerge from the creative thrust: “Just to pick up a handful of paint and throw it at the canvas and hope that the portrait was there,” he commented. His lover George Dyer or friends such as Henrietta Moraes, Isabel Rawsthorne, Reinhard Hassert or Eddy Batache – quite apart from the self-portraits – were treated in this less than literal way which, as Bacon found, provided a means of revealing the subject more truthfully.

Of special interest is a portrait of Lucian Freud based, improbably, on a photo of Franz Kafka.

Get to Sydney and witness Francis Bacon, and the way he witnessed a turbulent life. These paintings burst with energy; they twist and leap off the walls. Individually they are superb; as a cleverly curated collective they overwhelm.

There is none of the darkness some might be expecting. Curator Tony Bond has been at pains to frame Bacon’s tenderness, understanding that behind the made-for-popular-consumption figure of the wild and violent artist, the cruel vivisector (as portrayed by Patrick White), lay the fragility of one searching for meaning and form amidst the chaos of a war-ravaged world, a furtive sexuality, a gambler’s turn and a lover’s all-or-nothing instinct. For that attitude to life alone, Bacon is worthy of our renewed and continued attention.

as Bacon himself noted, breeds images, and the gambler he was walked the fine line in his art, the tight balance between formal skill, composition, and chance – or, as the gallery notes accurately describe it, brinkmanship.

This exhibition allows slow study of the texture and volume of paint, the thick and the thin, the expanses of empty canvas used as colouring device. There are canvasses with paint applied in up to fifteen ways, surfaces that repay very close inspection. Many of Bacon’s subjects find themselves framed within some kind of arena, a sumo or boxing ring, a stage, a cage, a box, a gallows, a spot-lit theatre, and here at the AGNSW that role may be reversed: outside the glass and looking in, the spectator is alone, surrounded by the twisting surfaces of paint, the play of light on canvas or sand, the furious semi-circular brushstrokes that provide the

Study for self-portrait, 1976, Francis Bacon, Oil and pastel on canvas, each 198 x 147.5cm.

Francis Bacon: Five Decades Art Gallery of NSW Continues until Sunday, February 24 as part of the Sydney International Art Series. A second exhibition, Anish Kapoor, opens on Thursday December 20 and runs until Monday April 1 at the Museum of Contemporary Art Australia. artgallery.nsw.gov.au mca.com.au

turner from the tate

the making of a master

a light changing experience MIXED EXHIBITION Opening 9 December – 24 December

8 February – 19 May 2013

Over 20 Artists participating

359 Greenhill Road Toorak Gardens Ph: 8332 7900 Tues to Fri 11-5 | Sat to Sun 2-5

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detail: J.M.W. Turner, Venice, the Bridge of Sighs, exhibited 1840. © Tate, 2013

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the adelaide REVIEW DECEMBER 2012

visual arts

Look homeward angel Stewart MacFarlane Paintings 17TH PROSPECT COMMUNITY SHOW 9 December – 20 January 2012 Closed 24 December to reopen 2 January 2013 Front Image: 16th Prospect Community Show, Photographer John Nieddu

India with Flowers, Oil on canvas, 45 x 35, 2010

1 Thomas Street (cnr Main North Road) Nailsworth Tel 8342 8175 prospect.sa.gov.au

John Neylon

National Aboriginal Cultural Institute Tandanya presents

Joel Sam, Thabu tutuwam (snake scales) small, 2009, edition of 30, etching printed in black ink from one plate with Chine Colle, 176 mm x 122 mm.

OPENING SATURDAY 8 DECEMBER

LAGAU DUNALAIG (ISLAND LIFESTYLE) Brian Robinson and Joel Sam

T

he Jeffrey Smart-fest which has seen a major survey of the artist’s work at Samstag Gallery, a spotlight on early Smart and Adelaide associates at the Royal South Australian Arts and yet another exhibition at Carrick Hill which surveys the artist’s early Adelaide years, has almost run its course. The Carrick Hill exhibition is still running until Sunday, February 24 next year and Barry Pearce’s Master of Stillness, Jeffrey Smart paintings 1940 – 2011 (published by Wakefield Press) has just been launched. That adds up to a significant opportunity to re-engage with the figure of Smart and to consider where he ‘fits’ within the broader narrative of Australian art. By repositioning Smart as a philosopher artist means he might get talked about as a metaphysical artist rather than cast as the Adelaide artist who made good and lived out his days in an Italian villa.

This issue of what happens when artists become too familiar or too distant comes to mind when reflecting another recently published monograph, Stewart MacFarlane Paintings (published by WeiLing Gallery). From monograph writer Nicholas Jose’s perspective on MacFarlane’s Adelaide connections (the artist was born and art-schooled in Adelaide) this zipped up city acted as the perfect foil for MacFarlane’s sense of adventurism which in the mid 1970s took him from Adelaide to New York and several years of grinding out a career as a studio artist in the toughest but at times the most inspirational of circumstances.

The scope and production qualities of this publication deliver MacFarlane in lavishly illustrated images and insights provided by writers Nicholas Jose and Timothy Morrell.

MacFarlane’s imagery it seems has always been with us – for me a Damon Runyon world of louche characters and innocents abroad acting out some latter-day Hogarthian exposé on the venality and abject nature of the human condition.

The settings of cheap hotel rooms, gangster chic apartments, corporate boardrooms, highways, triple-fronted suburbia, rooftops and industrial wastelands cast these characters as actors in existentialist dramas without hope or reason.

Compelling they have always remained, credit to the artist’s nuanced working of film noir tropes and his informed appreciation of how much can be implied by the merest of gestures courtesy Edward Hopper through another artist MacFarlane came in contact with, John Button. However to say that the distinctive nervous energy of the imagery is derived from such sources is to discount the raw feed of life experiences and a slew of alternative, popular culture influences (particularly music across a diversity of genres) which have provided the artist with a seemingly inexhaustible source of ideas. You know what I like about MacFarlane the most? His capacity to collapse time and space.

I’m thinking of some works, not necessarily his best known, like Good Friday in which a traveller is checking his hair in a shop window next to a petrol station. This image is underpinned by the specifics of observation and place but has a

Exhibition launch Friday 14 December, 6:00–8:00pm

Stewart MacFarlane Paintings (Wei-Ling Gallery)

LA

Exhibition concludes Sunday 10 February 2014 This selection of 42 limited edition prints has been created using a variety of techniques including linocut, etching, and embossing.

This is a Djumbunji Press KickArts Fine Art Printmaking Exhibition.

universal quality which speaks about moments between one instance and the next.

Another reason is that MacFarlane, knowingly or otherwise, redefines this Adelaide connection.

Jose and Morrell pump Adelaide’s tyres as an anally Gothic zone of dark secrets. But in underscoring the Adelaide resonances such writing does, as Barry Pearce in his book on Jeffrey Smart, propose some connection between city and personal perspective. One of MacFarlane’s teachers at the South Australian School of Art was Dave Dallwitz, a contemporary of Smart. Smart under the spell of classicism learned to temper his expression within elegantly calibrated compositional caprices. But Dallwitz took another road, which in his nude studies in particular, threatened to but never quite exercised a potential for darker statement. It was Dallwitz whose advice to the young art student Macfarlane considering a life of art, was ‘don’t’. How he ignored this advice, while at the same time drawing lessons from the senior artist, backgrounds MacFarlane’s search for his own voice and style. In support of this narrative MacFarlane offers his own personal diary of the unfolding events which traced his early experiences of surviving and establishing a studio practice in New York City in the 1970s. His lying in burnt out basements account of taking it to the streets, subways, nightclubs and tenements of New York has the sparse character of Kerouac prose.

Of course MacFarlane’s paintings aren’t about Adelaide. They are about an exotic ‘somewhere else’. But being in Adelaide sometimes means imagining this somewhere else in the same way that Jeffrey Smart in deepest, darkest Tuscany invests his caprices with the rectitude of South Australian light and a remembrance of the labyrinthine back lanes of Adelaide’s south west corner. MacFarlane is his own man in a riotous take-no-prisoners-way, as this splendid publication demonstrates, but if you want to look a little into Adelaide’s heart of darkness (and the world’s for that matter) read on.

Anne & Gordon Samstag Museum of Art University of South Australia

12 Oct – 14 Dec 2012

ST

Master of Stillness: Jeffrey Smart paintings 1940 – 2011

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ee

kS

!

Curator Barry Pearce

SHOWING UNTIL 6 JANUARY 2013

SIMMER Gary Lee This collection of photographs has been drawn from several discrete series of works within Lee’s Nice Coloured Boys project.

Tandanya - National Aboriginal Cultural Institute 253 Grenfell St (cnr East Tce) Adelaide 5000 (08) 8224 3234. Free entry. Open daily 10am - 5pm www.tandanya.com.au

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the adelaide REVIEW DECEMBER 2012

35

visual arts

‘Keep the dream alive’

BMG Art gallery Nona Burden and Helen Fuller opened their new exhibitions at BMG on Friday, November 23.

Trevor Nickolls 1949 - 2012

Clockwise from top right: Kip Fuller, Jesse Williams-Fuller and David Zhu; Ian Willding and Sue Ninham; Mel Fulton, John Foubister and Aldo Iacobelli; Barbara Buttfield and Jo Storen; Mandy Davies, Jude Clark, Jenny Orchard; Glenn Kestell and Seirian Kitchener.

John Neylon

S

outh Australian artist Trevor Nickolls valued humour so he might appreciate an image of himself leaving this world in a big yellow taxi. Or maybe that should be the lime green FJ Holden he depicted fellow Aboriginal artist and friend Rover Thomas driving through the heavens. On the don’t-know-what-you’vegot-till-it’s-gone principle coming to terms with Nickolls’ death will take time.

He died recently aged 63 after an illness and as always with profoundly creative and productive artists there is always a sense of being robbed of remarkable art still to come. He was in every sense a true innovator, someone who brought together influences from Aboriginal and Western art. This fusion, which incorporated figurative and dot painting styles from within contemporary Aboriginal art, defined a new style of expression which explored issues such as Maralinga, the Stolen Generation, Aboriginal Diggers, and Deaths in Custody but also addressed the contamination of the spiritual life of all peoples through materialism and the mindless embrace of technology.

If there is one image among hundreds which exemplifies this ongoing struggle between the spiritual and mechanistic life it is Nickolls’ emblematic Dream Time Machine Time split visage which took a standard Cubist trope and gave it a mordant, contemporary twist. The artist once remarked that this describes, “What happens when we go to sleep at night. I believe that the spirit leaves the body and partakes in the dreaming world. And when we wake up, I believe we wake up in what I call the machine time, influences of machine and technology.” Of some consolation,

Photos: Jonathan van der Knaap

Brush with the Lore (detail)

Nickolls, within his lifetime, was honored and recognised. With Yvonne Koolmatrie he is the only South Australian artist to represent Australia at a Venice Biennale (1990 with Kimberley artist Rover Thomas). Critical appraisal comes no higher than Brenda L Croft’s description of Nickolls as the “father of urban Aboriginal art”.

All this fuss for someone who as a ‘tray boy’ selling lollies at the movies and local theatre, watching Broadway shows, the Russian Ballet and more and thinking in his own mind that one day he might as an artist have stories to tell. As he concludes, “A lot of my paintings … are theatre scenes with curtains. The word’s a stage.” The good news is that a Trevor Nickolls Art Award has been established to support emerging Aboriginal artists. Further information about this award is available from Angelika Tyrone at AI ARTS on aiarts@adam.com.au

THREAD SONGS Handmade & tribal textile pop-up exhibition & sale collected on my travels in Pakistan and India Opening Thursday 6 December 6–8pm 7–24 December Mon–Fri 12–8pm, Sat–Sun 12–5pm

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36

the adelaide REVIEW DECEMBER 2012

visual arts

GHOTI 15

T

he biannual Centre for Creative Photography (CCP) exhibition of students’ work – GHOTI 15 – opens on Friday, December 14 at the Light Gallery with the exhibition being a perfect chance to check emerging talent in the field of photography.

GHOTI 15 is a theme-less exhibition, which allows the students to follow their own instincts to cover numerous styles, techniques and themes.

Not a graduate exhibition, GHOTI 15 is open to all CCP students giving them a chance to develop their professionalism by showcasing their work to the public and artistic peers.

The Light Gallery’s Curator Alyssa Cavanagh says it’s inspiring to see a wide range of students produce such a broad variety of work.

“The theme-less nature of the exhibition allows students to really apply themselves without restrictions, hence the diverse work shown here.

The quality of the work submitted this year has far exceeded our expectations, especially since many students in the exhibition have only just commenced their studies at the CCP. It really is a testament to the talent we’re harboring here.

GHOTI 15 is a fantastic opportunity for anyone curious about the CCP and The Light Gallery to come along to the opening night and see what we’re really about.”

The Adelaide Review showcases a snapshot of the up and coming photographic talent on this page.

GHOTI 15 The Light Gallery, Marleston Friday, December 14 to Friday, January 25, 9am-5pm ccp.sa.edu.au

Top to bottom: Black Swan By Simon Gammon Freedom By Sarah Bamford Cassette Photo-gram By Lauren Brauer

richard maurovic peace & prosperity 1 – 15 December 2012 www.hillsmithgallery.com.au

the adelaide REVIEW DECEMBER 2012

visual arts

LITTLE TREASURES Affordable art & craft

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This month

Continues until 22 December 2012

37

exhibitions gallery shop

25 Nov 2012 - 4 Jan 2013 11th Annual City of Marion Community Art Exhibition

The Adelaide Review’s guide to december’s highlight visual arts exhibitions

An exhibition of artworks in various media by residents of the City of Marion

Nona Burden Nona Burden, Now # 1 oil on canvas 100 x 150 cm

Recent Works Continues until Saturday, December 15 BMG Art bmgart.com.au

Acclaimed Adelaide artist Nona Burden presents her latest and greatest at BMG Art with an exhibition titled Recent Works.

New Work

Free entry - all welcome!

Continues until December Sunday, 16 Greenaway Art Gallery greenaway.com.au

Greenaway’s final exhibition of the year, installation view of New Work

New Work, features (as the exhibition title suggests) new work from a group of artists including Daryl Austin, Alex Carletti, Adam Cullen, Christian Lock and Jenny Watson.

End of the World Continues until Friday, December 21 Fontanelle fontanelle.com.au

Featuring a gang of Fontanelle artists, the End of the World exhibition showcases the idea of putting on a show that celebrates the end of the world at the Bowden space.

Dan Withey Withey or Withoutey Friday, December 7 until Saturday, December 22 Magazine Gallery danwithey.com

Illustrator and artist Dan Withey’s solo Dan Withey, Blue

exhibition Withey or Withoutey explores our connection with nature as technology advances while questioning the concept of progress in a humorous and thought provoking fashion.

Ken Orchard

Catchment - from source to sea

Ground Floor Gallery 23 Nov 3 Feb

Ken Orchard- Grass tree sentinels

Bay Discovery Centre Glenelg Town Hall, 1 Moseley Square, Glenelg Ph: 81799508 www.holdfast.sa.gov.au

Pepper Street Arts Centre Exhibitions. Gift Shop. Art Classes. Coffee Shop.

558 Magill Road, Magill PH: 8364 6154

images by: (clockwise from top) John Hamilton , Roger Hjorleifson, Matthew Welsby, Lyn Coombe & Liza Merkalova

Hours: Tuesday to Saturday 12 noon - 5 pm An arts & cultural initiative funded by the City of Burnside

www.pepperstreetartscentre.com.au

Gallery M, Marion Cultural Centre 287 Diagonal Rd, Oaklands Pk SA P:8377 2904 info@gallerym.net.au

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38

the adelaide REVIEW DECEMBER 2012

visual arts

Profile: Trent Woods

Jane Llewellyn

T

Left to right: Therefore I Am, Still Life ( Just add Water ), Free range

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here has been a long association between art and science dating as far back as the Renaissance and artists like Leonardo da Vinci. “Art will tackle areas that science can’t explain so they work well together. Science gives understanding and art will give meaning,” suggests Adelaide-based artist Trent Woods. For Woods, the recent winner of the International Brain Art Awards, his interest in science, in particular Neuroscience, stems from a very personal perspective.

At the outset of his career Woods was a silversmith and then a blacksmith. He dabbled in theatre as well as fashion and wearable art. His career was on quite a roll when he was involved in a very serious accident – he was struck by a car as a pedestrian. He explains: “I had just collaborated with Wakefield Press on the release of the multi international award-winning book Body Piercing, won my category in the nation’s largest independent fashion awards, was exhibiting jewellery and sculpture interstate and about to do so overseas, when it all came to a very abrupt halt.”

Faced with a long road to recovery Woods used this period to further his studies – completing a BA and MA in Visual Art – and hone his practice. Turning to his own situation the accident fuelled an interest in neuroscience, he says: “Neuroscience and neurochemistry became quite a personal as well as artistic journey.”

Recently Woods held exhibitions with the Neuro Orthopaedic Institute (in England in 2010 and in Adelaide in 2012) and was part of a SALA exhibition in 2011. He has also worked on a number of diverse projects with artists

London Evening sky, photo by Bev Bills

Dreams of Flight, Acrylic, by Hugh Adamson

Summer Exhibition: La Petite et Le Grande

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Royal South Australian Society of Arts Inc. Level 1 Institute Building, Cnr North Terrace & Kintore Ave Adelaide, Ph/Fax: 8232 0450 www.rsasarts.com.au rsasarts@bigpond.net.au Mon- Fri 10.30-4.30pm Sat & Sun 1- 4pm Pub Hol. Closed. Gallery closed 24 Dec – 1 Jan.

Trevor Brown, Mother and Chick, resin, 30cm x 18cm x 10cm

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such as Stelarc. While his background is varied the themes within his work have remained consistent. He says: “one of the things that has inspired my work all along is the notion of self and the relationship of self to the corporeal body.

As a sculptor there is a particular fascination with anatomy.”

Woods’ winning entry in the Brain Art Awards is the sculpture Free Range – a manifestation of his dark humour – which makes a metaphorical association between a chicken’s life and its freedom, and those freedoms which we may or may not have. He explains: “On one level it’s about the sedition laws and anti association laws.

On another it’s about how people are becoming a commodity. You are no longer the consumer anymore, you are the commodity. There is also the symbolism of the fragility of the mind and beginning of new life.”

With such a varied career to date it is difficult to categorise Woods and doing so would be limiting to an artist with such a wide-ranging and diverse background. He says: “I don’t like to be restricted, I like to make the most of opportunities that present themselves. I try not to label myself but if I had to, sculpture is definitely my main practice.”

With a number of projects on the horizon, including working on an entry for next year’s Waterhouse prize, Woods says: “I think reemerging artist would be a more appropriate description than emerging artist.”

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the adelaide REVIEW DECEMBER 2012

39

food,wine & coffee

Viet L’Amour and Wassail

Photos: Tony Lewis

John McGrath

W

hat’s happened to Prospect? It used to be skeletal remains of shops that could be open but probably weren’t.

The revolutionary star on Prospect Road was and is the fruit and veg shop with the striking sign and handsomely displayed produce. Adelaide Fresh Fruiterers isn’t all apples and oranges.

Under the sign there are dry goods, ham off the bone, chickens, beef, even a bakery. Why doesn’t one pop up at the end of your street?

Not much reason to go any further North. Retreat immediately back to one’s Fitzroy mansion. No. Go forward to Prospect’s centre where Prospect Road has been bottle-necked, streets closed off and traffic lights put in for the odd pedestrian. At night, curious conspiracy theorists can marvel at the Martian sperm sacs that have been shot directly at the Prospect Council and are whirring ever so slowly into the flesh of Mother Earth.

They are made from an unknown metal and glowing pink flares. I have heard a story that the

Council commissioned the artefacts. This may be so. However, they are unmistakeably Martian in design and execution. Someone on the Council may be from the red planet…

After avoiding what could be nasty clouds of primordial isotopes around possible clusters of pink semen; golly: A Wine Bar. Glossing up the faded heart of Prospect is a wine bar called Wassail. I know what ‘Wassail’ means because I am supposed to. ‘Glug’ (or similar) would have been my pick. Maybe the owners wanted something to suit the Prospect aspirational classes. Wassail feels as if it is learning how to be itself. The staff is tasting strange wines along with the guests. Rosa Matto has got them off to a fast start with an apt, simple, do-able, menu.

I tried a Pindarie 2011 La Femme Barossa Savagnin. There are plenty of other curious wines on the list. Stephanie Matto, Rosa’s daughter was on the floor at my first visit to Wassail, disguised in her mother’s spotted top. This was enough for vague me to talk to the daughter like the mother.

I didn’t say, “you white-hot spunkerina, you”. But

there are things you say absently to old friends.

Blush. A brass quintet will play there on December. 2 Next door is a large Vietnamese restaurant which is having a crack at fusion cuisine. Don’t stamp your feet if your favourite classic made with water imported from the Mekong Delta, isn’t ‘just so’. Vietnamese food is already fusiona-fied. Influenced by the French, hence beautiful bread and even beautiful pâté, minus ‘de foie gras’ perhaps, but beautiful pâté none the less. Even their wonderful standard-bearing dish ‘Pho’ may owe its name to the French ‘pot-au-feu’. The Americans left behind whole pork chops on top of rice – or the dish may have been already in Vietnam.

Start off with a Buddha roll each ($5 for two). As you would expect of Buddha, there is no meat inside. What is inside is adorable.

Lettuce, mint leaves, white noodles direct from the steamer, finely cut carrot and bean sprouts.

All exceptionally fresh and crunchy ingredients.

If you wish to show off those fast little fingers order Do- It-Yourself rolls ($20 for two people). The sizzling sirloin version is finely sliced, marinated in soy sauce, garlic and lemongrass, tossed in a wok with lettuce and smoked onions and left for you to wrap up in a pliable circle of rice paper that you have dexterously spun in a bowl of hot water to soften, flipped it in a perfect circle on your plate, then filled the wrapper with the freshest lettuce and herbs.

Or flipped in a half circle on your plate, which is impossible to un-stick, fiddled with it until you’ve lost your temper, and stuck the whole lot in your mouth before anyone notices. They all do. What would Buddha do? Thrown the wretched mess on the floor and stormed out with his monks in tow? If you look up a dish called ‘Buddha Jumped over the Wall’ you will see he’s got form in this area.

You should stick at it. Your first effort will be disturbing. #3 will be perfect. Stick with salads if you want to be sanctimonious. King prawn and lotus stem salad? Naturally Ms Duck-Breath wanted ‘Duck L’Orange’ ($19.90 for a sharable serve) with an orange and ginger glaze. Lovely dish, much better than any version of the truly bastardised highfalutin ‘Duck a l’orange’ served in posh places.

If you are going to cook this dish yourself with at least a cursory nod towards tradition, try using Frank Cooper’s Oxford fine cut marmalade. It is made with Seville oranges. Tinker with that and Cointreau in the gravy to make a sauce bigarade.

And serve the sauce on the side for pity’s sake.

Take a hint from the Orient.

There are many other dishes to try on Viet L’Amour’s menu. Two are ‘wicked’. Wicked Winglets and Wicked Wonton Soup. There are a couple of steamboats, too.

I have to give a gold sticker to the person who is responsible for the glowing doohickies. I think they are awful. But they might have worked.

Wassail 95 Prospect Road Prospect SA 5082 83422548 Thursday: 4pm-10pm Friday - Sat: 1pm-12am Sunday: 3pm-9pm Viet L’Amour 93 Prospect Road Prospect SA 5082 83442888 Lunch: Tuesday – Sunday 11am-3pm Dinner: Tuesday – Sunday 11am-late

LOVE FOOD, WINE AND COFFEE? V I S I T A D E L A I D E R E V I E W. C O M . A U

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the adelaide REVIEW DECEMBER 2012

feature

FOOD FOR THOUGHT

twitter.com/annabelleats

Annabelle Baker

A perfect Christmas feast

I

have always wondered why we eat what we eat at Christmas. Our obvious English ties have created a tradition of a roasted bird, gravy and a dense brandy soaked pudding, which we embrace, although sometimes reluctantly. Over the many years we have started to pull away and have added our own touches to the perfect Christmas lunch or dinner. We embrace our natural resources with the inclusion of fresh seafood, influences from our German settlers with spectacular glazed hams and our own inventions, the pavlova (that may be a New Zealand invention, possibly need to share the credit on that one!).

I do believe that Christmas lunches, or any celebratory meal for that matter, can make everlasting memories and their importance should not be taken lightly. For me, the perfect table needs to be abundant and interactive. I love having an amazing dipping sauce with lots of random things to dip into it scattered around the table; copious amounts of bread and most importantly a supply of extra virgin olive oil.

With a combination of historic elements, surrounding influences and, of course, family favourites, we all have a version of the perfect feast!

Gingerbread Tea Cake with Old Fashioned Icing – makes 12 ingredients 150g butter - at room temperature 1 ¾ cups of light brown sugar 2 eggs 2 teaspoons vanilla extract 2 ½ teaspoons baking powder 2 ½ cups plain flour 2 tablespoons gingerbread spice mix 150ml stout beer 150ml buttermilk 2 tablespoons of ground cardamom

Old Fashioned Icing ingredients

Pear and Redcurrant Galette ingredients 375g pack sour cream pastry 5 firm pears – peeled and sliced into eighths ½ cup light brown sugar 2 tablespoons plain flour 3 tablespoons almond meal Pinch of salt Juice of 1 lemon 1 cup redcurrants ½ cup demerara sugar 1 egg beaten with a splash of milk

method Roll the short crust pastry into a large round circle and leave to chill in the fridge for 20 minutes.

In a large bowl coat the pears with the brown sugar, flour, almond meal, salt and lemon, ensure they are really well combined.

Remove the pastry from the fridge and place the pear mixture in the centre of the pastry leaving a one-inch border around the outside.

Rustically fold the pastry over the pear mixture, leaving a large amount of pears exposed in the centre.

With a pastry brush coat the pastry with the beaten egg and then sprinkle with demerara sugar.

Bake in a 180-degree oven for 40 minutes or until golden brown.

3 egg whites 2 ½ cups icing sugar 1 teaspoon vanilla pod seeds ½ teaspoon of lemon juice

method With the paddle attachment of an electric mixer, whisk the butter and sugar until well combined and fluffy.

Add the vanilla and eggs, one after the other, leaving time for the mixture to combine.

Sift the flour, baking powder and gingerbread together.

On a low speed add half the flour mixture followed by the beer; allow to mix until just combined.

Repeat the process and this time follow the flour with the buttermilk.

Fill 12 patty pans two-thirds of the way to the top.

Bake at 180 degrees for 15 to 20 minutes or until a skewer comes out clean.

Leave to cool completely before icing.

In the bowl of an electric mixer with the whisk attachment, whisk the egg whites, icing sugar for 10 minutes on a medium – high speed.

When the mixture is holding a stiff peak add the vanilla and lemon juice and continue to mix until combined.

Pipe the icing on top of the cakes and sprinkle with the ground cardamom. Allow to dry completely before serving and do not refrigerate.

the adelaide REVIEW DECEMBER 2012

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feature

Onion and Caraway Seed Focaccia ingredients

Tartare Sauce This is my favourite sauce to have with seafood.

This is a double batch; I divide it into two batches and keep one plain to have on sandwiches during the week – perfect for leftover Christmas ham!

ingredients 4 egg yolks 3 tablespoons Dijon mustard A pinch of sea salt 100ml white wine vinegar 750ml neutral oil Mixed herbs finely chopped (tarragon, parsley, chervil, dill, chives) Finely diced gherkins lemon zest 3 hard-boiled eggs

method Add the egg yolks, mustard and sea salt to the bowl of an electric mixer with the whisk attachment.

On a low speed add the vinegar and leave to whisk for three minutes.

Increase the speed and slowly pour the oil into the egg mixture, leaving the mixture to combine sporadically.

Once halfway through the oil, pour more steadily and only slow down if the mixture begins to separate.

Finish with your favourite fresh herb combination, gherkins, capers and, or, lemon zest – I add them all!

For the ultimate tartare sauce pass three hard-boiled eggs through a fine sieve and then stir through your sauce.

2 large onions sliced sea salt 2 tablespoons caraway seeds 2 medium potatoes 2 teaspoons of dry yeast 3 ½ cups organic flour 2 teaspoons sea salt 2 tablespoons extra virgin olive oil 275ml warm water

method Over a low heat fry the onions in olive oil and a pinch of salt. Cook until tender, add the caraway seeds and leave to cool.

Peel and dice the potatoes, simmer until tender. Whilst the potatoes are still warm pass them through a potato ricer or mash well with a fork, leave to cool.

In the bowl of an electric mixer add the cooled potatoes, yeast, flour, sea salt, oil and the warm water. Mix on a medium speed with a dough hook attachment.

When the dough forms a ball and starts to clean the bowl leave for a further 10 minutes on a medium speed.

Place the dough in an oiled bowl to double in size for around one and a half hours.

Oil the base of a baking tray or a large cake tin with shallow sides and transfer the dough, leaving it to do a second prove.

When the dough has once again doubled in size, gently sprinkle with the cooked onions.

Bake in a 190 degree oven for 20 -30 minutes or until the bottom is golden brown and coming away from the tray or tin.

Leave to cool on a wire rack for at least an hour before eating.

Mustard Fruit and Apple Cider Glazed Ham

APPLE, Onion and Vanilla Bean Chutney

Mustard fruits are an Italian pantry staple and are poached baby fruits in a mustard spiked syrup. They make the perfect accompaniment to cold meats, cheese or with pork in general.

7 apples – peeled, cubed and kept in a bowl of water and lemon slices to stop discoloration.

3 large onions diced 300g light brown sugar 400ml apple cider vinegar 1/2 vanilla pod 1/2 cinnamon stick 2 cloves

ingredients 1 free-range leg ham 250g jar of mixed mustard fruits with the syrup 375ml of apple cider cloves

method Remove the skin from the ham to expose the fat layer.

Using a clean stanley knife score the fat into even lines in two directions, creating a diamond shape.

Stud the middle of each diamond with a clove.

Chop the mustard fruit into rough pieces; add the syrup and 50ml of apple cider to an electric mixer and blitz until a smooth paste.

Place the ham into a large alfoil dish or lined baking tray and pour in the remaining apple cider.

Coat the scored ham with a layer of the paste and bake in a 150-degree oven for one and a half hours. Every 15 minutes re-glaze the ham; if you run out of glaze start to use the sticky pan juices.

Leave to cool for at least two hours before serving.

ingredients

method Add all the ingredients to a large saucepan.

Bring to the boil and leave to simmer until it is thick, glossy and holds its shape on a cold plate.

Turn off the heat and remove the cinnamon stick and cloves.

Stir through the vanilla seeds and decant into clean jars (I do them hot from the dishwasher) and leave to cool.

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the adelaide REVIEW DECEMBER 2012

food, wine & coffee tayste event at bmw

This month The Adelaide Review’s guide to December’s food & wine highlight events

New fine food and wine catering business Tayste launched on Wednesday, November 7.

Clockwise from top left: Sam Hay and Kelly Hamilton; Lynda Kutek and Isabelle Harwood; Loiuse Spark, Leila Henderson, Rosemary Cadden and Barbara Harkness; Bunty Parsons and Robyn Le Doeuff; Ella Trimbell and Amy Hooper.

Photos: Jonathan van der Knaap

Christmas Day at Mt Lofty House Tuesday, December 25 mtloftyhouse.com.au

You can celebrate the most festive day of all in style at Mt Lofty House with a variety of dining options, starting at $120 per person for a picnic hamper. The various dining options include live entertainment and a drinks package.

Regattas Bistro + Bar New Year’s Eve regattas.com.au

Not only is Regattas the best place to watch the fireworks while welcoming in the new year, the Convention Centre restaurant also has two packages to help you celebrate: a sit-down dinner package and a grazing plate package. Aside from the food, you will be able to watch two fireworks displays and enjoy music from the band Pulse.

Adelaide Showground Farmers Market Sunday, December 23, 9am-1pm

majestic roof garden Melbourne Cup festivities at Majestic on Tuesday, November 6.

Clockwise from top left: Barbara Coddington, Kate JordanMoore, Bridget Fahey and Rosalie Day; Cindy Chynoweth and Tina Duguid; Nadia Radice, Gillian Carr and Jo Willis; Vimal Venugopal, Paul Alland and Mandy Raj; Mick Church and Di Church; Jennifer Hemsley and Sarah Thomas.

Photos: Jessica Clark

asfm.org.au

The last farmers’ market of the year will allow you to shop to enjoy a sustainable Christmas and festive season, as you buy from the South Australians who produce it.

OzHarvest Cookbook demo with Camillo Crugnale from Assaggio Adelaide Central Market Saturday, December 8, 9am-2pm adelaidecentralmarket.com.au

Join Camillo Crugnale, Executive Chef at Assaggio Ristorante and OzHarvest Ambassador, on the Central Market stage as he demonstrates his recipes from the OzHarvest Cookbook and shares some great cooking tips.

CELEBRATE NEW YEARS EVE IN STYLE AT RICKSHAWS RESTAURANT Let renowned Chef Mani take your taste buds on an Oriental journey through India, Thailand, Malaysia and beyond where our specially created 4 course banquet meal is guaranteed to impress. $

85 per person. Includes cocktail on arrival

For further details and bookings, phone 8461 1111 Stamford Plaza Adelaide | 150 North Terrace, Adelaide www.stamford.com.au/spa

the adelaide REVIEW DECEMBER 2012

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food, wine & coffee

Cantina Sociale Just when you thought Adelaide businesses were all starting to merge into one another, someone pops up with a cracker of an idea to get tongues wagging.

Sian Williams

A

nd in this instance, just in time for the New Year, it is a joint effort by three established and successful foodies and wine professionals bringing a whole new dimension to living in the wine state.

Justin Long, Angie Bignell and Georgie Rogers are the co-directors and owners of the new Cantina Sociale wine bar opening late December, early January. Named whilst passing through Puglia, Italy, winemaker Long explains his theory of bringing the cellar door to the city, and the commonplace

of such a watering hole in European townships.

“If you have ever worked in a vineyard, or a cellar door, you may know that there is a lot of wine made that gets quickly consumed and never reaches the public eye,” he explains.

“Small barrelfuls of experimental blends, unusual varietals; it is such a shame that often these wines are made in such small quantities and we do not get the chance to try something different that we may never have had before. With this concept, we decided to bring a little of the cellar door experience to town. We have arrangements with many South Australian and interstate growers

- who have sold us in some cases only one or two barrels of their wine - coming into our wine bar and tasting areas, [so] you will have the opportunity to try something that never even reaches the bottling stage. Also operating under a different license means we offer the chance for you to come in try, and then take home a bottle of wine poured straight from the barrel.”

Rogers, owner of popular Spanish deli and café El Choto, explains the simplicity of their menu, as they do not believe they will be having a structured option of dining.

‘When you walk through the doors and order

your glass of wine, sure, you may happen to feel peckish. There may just be a round of cheese in the display we collected earlier from the markets.

Some fresh bread, perhaps. Maybe even some olives. We hope people come to Cantina to socialise, wind down. There is not a full menu on offer with us. This really is all about the wine.

For people to try something they have never had before. Discuss, learn, experience.”

What happens if that one glass turns into a session and you get hungry?

“We are only a few minutes walk from the hub of city dining, in Gouger street,” Cibo veteran Angie Bignell laughs. “So perhaps start with us for a pre-dinner, and wander off to eat. We then look forward to people returning afterwards to finish their evening with us. This is also why we do not have a set closing time.”

Seating will be competitive with 40 seats. This includes a small tasting area to gain maximum view of the stacked barrels (unlabelled), which will be the prime position for punters to watch the theatre of staff scaling a library style ladder to gain access to the (literally) top shelf wines.

Long explains: “There will only be about nine wines on offer at any time. But they will be transient, exclusive. What you had last week will most likely not be available next week, or perhaps ever again.

It is such an exciting way to educate already wine savvy South Australian to other varietals they may not have even heard of. Kind of the Karma Sutra of wine really, leaning away from the traditional ways and opening your mind to indulge in an unknown and unlabeled product. I imagine the Adelaide clientele will be excited by the idea of having an ongoing and ever-changing wine list!”

The three friends are passionate, seasoned hospitality folk who really know their stuff. Their relaxed and excited approach about sharing their new venue with us is contagious, enticing.

Certainly this will be the place to be seen catching up for a glass of wine this summer.

Cantina Sociale opens in December 108 Sturt Street Wednesdays to Sundays (4pm until late)

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the adelaide REVIEW DECEMBER 2012

food, wine & coffee

CHEWIN’ THE FAT Jock Zonfrillo

‘

Kaya yarn noonda wardandi bibluman, noongar boodja nitcha, noongar boodja nookin ningy’ (Hello and welcome to Wardandi noongar traditional lands. The Southwest Aboriginal people, forest people by the sea).

NORTON SUMMIT VINEYARDS KENN FISHER - PROPRIETOR 122B NICHOLLS RD NORTON SUMMIT 5136 PH. 08 8390 1986 WWW.NORTONSUMMITVINEYARDS.COM 20mins from CBD 2km from Scenic Hotel

Top 10, The Adelaide Review Hot 100, (2007 Chardonnay) Top New Release, Winestate Magazine, 2012 (2006 Pinot Noir) Premium Pinot Noir, Chardonnay & Sparkling wines Personal tastings & functions by arrangement

And so it started... the Gourmet Escape weekend in Margaret River, WA and, as these events always are, it was an opportunity to catch up with old friends, as well as a time to meet new ones from around the world who are just as passionate and dedicated about food as some of us Aussies.

Sadly the weekend started with the sad news that two of Heston Blumenthal’s boys – Jorge and Magnus – tragically lost their lives in a car accident in Hong Kong. Most of the chefs at the event either knew of them or had worked alongside them at some point, which left us all with a heavy heart. We felt for the families of those two young men but we also all felt for their other family, those at the Fat Duck and Dinner by Heston.

There is an unsaid law for us chefs – in kitchens and restaurants we form the strongest of bonds with our fellow colleagues particularly at that level. We don’t simply clock in first thing in the morning and clock out eight hours later. We are all in it together, which means an 80-plus hour week, obviously that means for us we see our brethren far more than our family (wives included). Is it any wonder then we mourn their loss just as much as if we had lost a brother?

That aside, the festival was a tremendous success with thousands through the doors to see an impressive line-up of world renowned chefs such as Rene Redzepi (Noma, Copenhagen), Alex Atala (D.O.M. in San Paulo), David Change (Momofuku New York, Sydney and Toronto) Sat Bains (Restaurant Sat Bains, UK), André Chiang (Restaurant André Singapore) as well as an excellent line-up of respected Australian chefs, for the ultimate in culinary adventures.

One of the events I hosted was a tour through Ngilgi caves with a Wardandi man, Joshua, after which we introduced some of the world’s best chefs to some ingredients eaten and used by the traditional owners of that land that Josh and I gathered in the days leading up to the event: Herbs, plants, tubers, roots, trees, grubs, fruit, meat and fish.

For some, including many Australians in the gathering, it was the first time they had seen these ingredients (let alone cook or prepare a dish with them). There were 25 of us who shared that experience, a time of connecting with the Aboriginal people of that land but also each other. All involved spoke throughout the weekend of that experience as being the highlight of their trip and that it

had made them think about food and nature in a completely new and different way.

For me, it was a moment of pride, as it was the first time I had seen a food festival putting tradition and true Australian culture at the heart of its event.

My menus have most recently included water lilies, gubinge (a superfood with 100 times more vitamin C than oranges), parrot peas, bush ginger, bush lemongrass, green ants, honey ants, bush honey, tree saps, jilunjin and the list goes on. Many herbs that we gather in nature and use in the food my team prepares also has significant, practical functional effects: emulsifiers, stabilisers and even anti-oxidants. Some contain compounds, which are tonic, relaxing and restorative….

Australian Aboriginal people and their communities inspire me. I am constantly learning from their culture, traditions and their food ideologies. These people are incredibly passionate and are clever hunters and gatherers.

For me, it is very important that the food we prepare uses Australia’s native ingredients with a new, fresh perspective. We try to give the customer a renewed picture of food and culture, after all what we have here in Australia really is truly unique.

Jock Zonfrillo is the Head Chef of Magill Estate twitter.com/zonfrillo

Christmas at

Go online to view our 2012 Christmas Hamper Catalogue or come in store mercato.com.au OPEN 7 DAYS MONDAY TO FRIDAY 8:30am - 6:30pm / SATURDAY & SUNDAY 8:30am - 5pm / PUBLIC HOLIDAYS 9am - 3pm like us on Facebook

follow us on Twitter

www.mercato.com.au

the adelaide REVIEW DECEMBER 2012

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food, wine & coffee

‘Tis the season

David Ridge reviews four wines ideal for Christmas Day and the festive period, in general. These wines, which are delicious and really food friendly, will perform whatever the weather and are benchmarks of their type.

2012 Johnston Oakbank Sauvignon Blanc

2011 Castello di Neive Langhe Arneis ‘Montebertotto’

Adelaide Hills, SA RRP: $17 johnston-oakbank.com.au

Piedmont, Italy RRP: $42 lacantina.com.au

In contrast to the 2011 vintage here (especially in SA) which was a disappointment to put it mildly, 2012 provided wonderful grapes, often in the best condition and with the most promise possibly ever. So if you combine the vintage with a cool vineyard at 400 metres in the central Adelaide Hills, and throw in the winemaking talent of the canny and careful David O’Leary, this is what you get. It’s an immediately attractive white, with juiciness, freshness and life the most noticeable things and the actual varietal is almost a nice secondary player. For me this is often important with Sauvignon Blanc, which can sometimes appear a bit ‘obvious’ – just too strong and maybe single-dimensional. This gorgeous little thing is glowing fresh, nicely shaped, and has all the best (‘Hills) Sauvignon characters: nice fresh tropical fruits, along with little herb and mineral.

Sounds like the white for a bit of fish on the Chrissy-time table?

Here’s a wine to bolster a flagging faith in Arneis.

No matter if they hailed from here, or like most of the contemporaries of this one, from the variety’s heartland of Piedmont in north west Italy, it seems the hype and expectations surrounding this onceendangered grape exceed the times it provides the satisfaction, or more, that a ‘next big thing’ should provide. The good ones are lovely – the ordinary ones are just more plentiful. Then along comes this wine. This is what can be done and this is how speccy Arneis can taste (and look and smell). The intense but gregarious Italo Stupino, who occupies the awesome castle that dominates the hilltop town of Neive in the Barbaresco zone, planted this Montebertotto vineyard to Arneis over 30 years ago, making him a pioneer of the grape’s resurrection. The fruit depth is remarkable, and is represented by delicious notes of lemon leaf, honey and a spice and this goes on to be an essay in the coexistence of power and balance.

The finish is long, lively and intriguing.

2010 S. C. Pannell Grenache McLaren Vale, SA RRP: $55 pannell.com.au

2011 La Morandina Moscato d’Asti Piedmont, Italy lacantina.com.au

I’m sorry, (actually, not really) that my benchmarks for many styles of wine are European - and for Grenache that’s certainly the case. I might also be the last in the wine reviewing caper to get around to this now famous wine, but there’s no doubt this wonderful, fascinating red has joined a handful of great wines made from McLaren Vale Grenache. Great is a deliberate, and I hope for me, a sparingly used term. A champion of this variety, and long a frustrated one at that, winemaker Steve Pannell is readily familiar with Grenache in its best incarnations: from Chateauneuf du Pape and Gigondas of southern France and Spain’s Priorat and Rioja.

He’s long known and has been working to show that McLaren Vale old-vine Grenache is so much more than juicy, chubby and cheery. Here it all comes together in a spectacularly complex and shapely red, where the spices and the berries are abundant, but so elegantly shaped and savoury.

I will have this on Christmas Day.

A nice cold glass of good Moscato is a great way to see out, or even kick off the Christmas Day indulgence. Real Moscato, like this, is a particular creature, and it’s actually made from the variety Moscato – unlike most of the things being called Moscato here in Oz. It’s just that we had plenty (of hectares of Moscato – usually known here as White Frontignac), once upon a time, but we pulled most of it out. With the resurgence in appreciation of the delicious spicy, grapey and lightly bubbly (and low in alcohol) white, that trend is reversing, but demand well exceeds supply of real Moscato. This one is from a specialist in the style, from vines between 60 and 80 years old and very distinctive and characteristic of its terroir of Castiglione Tinella between Alba and Asti in northeast Italy. There are hints of sage along with melon and almost minty fruits. The depth of an authentic Moscato can be quite a discovery and you might enjoy spending a bit of time on a glass of this.

Also visit us for our…

THE DEFINITIVE COLLECTION OF ITALY’S GREAT BAROLO AND BARBARESCO WINES The largest offer of Nebbiolo in Australia

Visit lacantinawines.com.au to download your copy of the Big Nebb offer for 2012 Join us at lacantinawines.com.au for access to Australia’s largest range of the great, diverse and fascinating Nebbiolo wines of Piedmont; Barolo, Barbaresco, Nebbiolo d’Alba and Langhe Nebbiolo each with expert notes and ratings

625 - 627 LOWER NORTH EAST ROAD CAMPBELLTOWN

ph: 08 8337 1808

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the adelaide REVIEW DECEMBER 2012

food, wine & coffee

Mount Lofty House Girrard Ramsay (Executive Chef Mount Lofty House) How long have you been in your current role?

Summer Dining Feature

Two years What were you doing before that?

Executive Chef at the Pier Hotel in Glenelg How would you describe your menu?

Seasonal, regional, simple and honest food!

What is your approach to sourcing produce?

Lenzerheide Restaurant Mark Gaston (Executive Chef Lenzerheide Restaurant)

Creating relationships with suppliers and growers I would describe our menu as traditional

to enhance awareness of products and availability

European with a modern twist. Updated

Do you think Adelaide diners have changed over

presentation and technique highlighting

the years? If so, how?

classic flavour profiles.

Definitely think Adelaide diners have become more

What is your approach to sourcing

aware of where their food comes from and the quality

produce?

of such produce. Diners are much more discerning

Our approach to sourcing produce is

and know what good quality food really is about.

to work closely with local producers

How long have you been in

and suppliers to access the freshest and

your current role?

highest quality lines available. Seasonal

Worked at Lenzerheide since August 2000,

produce is key to showcasing menu items

current role since 2007

at their absolute peak, which is what our

What were you doing before that?

customers have enjoyed and come to

Sous Chef at Alphutte Restaurant

expect over many years of patronage.

How would you describe your menu?

Do you think Adelaide diners have changed over the years? If so, how?

In my opinion the diners in Adelaide have matured in their food knowledge and expectations over my 25 years in the industry. Adelaide has always been spoiled for choice when dining out and the competition, whilst tough, has driven those establishments who have stood the test of time to not rest on reputation but to strive for the balance between consistency and innovation required to remain relevant.

OPEN for Breakfast daily Dinner Monday-Saturday

HAPPY HOUR 5pm-6pm Monday-Saturday

Majestic Roof Garden Hotel 55 Frome Street, Adelaide

8100 4495

majestichotels.com.au

Lenzerheide Restaurant 146 Belair Road Hawthorn lenzerheide.com.au

Mount Lofty House 74 Mount Lofty Summit Road Crafers mtloftyhouse.com.au

the adelaide REVIEW DECEMBER 2012

food, wine & coffee

The Stirling Hotel Brendan Boothroyd (Executive Chef Stirling Hotel) How long have you been in your current role?

Two years at The Stirling Hotel What were you doing before that?

SPECIAL OCCASIONS AT

“We would love to celebrate New Year’s Eve with you”

Open on the 27th, 28th and the 29th of December for lunch, high tea and dinner & New Year’s Eve

I spent five years as Sous Chef at The Lion Hotel How would you describe your menu?

The Grill menu is modern Australian with French influences What is your approach to sourcing produce?

We try to source local produce as much as possible, however will import for the best quality Do you think Adelaide diners have changed over the years? If so, how?

Yes, absolutely. They are much more knowledgeable and savvy with food, wine and service. Menus can now be written with more difficult culinary terms due to media influences.

The Stirling Hotel 52 Mount Barker Road, Stirling stirlinghotel.com.au

A La Carte Menu Specialized set menus for bookings of 10 or more Private Dining Rooms available Bookings Essential 146 Belair Road Hawthorn SA 5062 Telephone: 8373 3711 Facsimile: 8373 0820 www.lenzerheide.com.au

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the adelaide REVIEW DECEMBER 2012

food, wine & coffee

Full cream ahead Derek Crozier

M

y father always told me about how he remembered milk being delivered to the door in a glass bottle, with a thick ring of cream around the lid tasting like it had come straight from the cow that morning. One day I might be telling my children how I had hundreds of milk varieties to choose from and the milk I used to drink always tasted as if it had come straight from the shop.

Ninety percent of all coffee orders are milk based and with the choices we already have on the coffee menu, we seem to be getting more of a choice in what milk we would also like.

Some varieties are full cream, reduced fat, skim milk, calcium enriched, A2, soy, UHT (ultra-high temperature treated), almond milk, goat’s milk, rice milk and we even have lactose free milk.

Each type of milk contributes to different tastes in your coffee. Soy milk can bring out the nutty flavour in coffee whereas some full cream milks are so creamy that it changes the balance of the flavours you’re expecting.

Before a barista adds the heated milk to your cup, the milk is stretched and textured until its silky smooth and dense. An experienced Barista will be able to work with most milk put in front of

Why risk buying old coffee beans at the Supermarket?

Buy Fresh Buy Direct Buy Local

them and most importantly, a barista should never roll their eyes at you when you ask for that skim soy decaf cappuccino (if they do it means they’ve forgotten that the customers pay their wages).

Coffee lovers and baristas have asked me: ‘which milk offers the best texture and volume?’ Skim milk does have the protein to create volume (froth) but the rich and velvety texture comes from the fat content in full cream. However, when the milk is fresh and in the right hands this shouldn’t be a problem from either product. All milk varieties act and react differently when heated with a steam wand. When most milk varieties are heated past drinking temperature, the texture changes and they separate when poured into the espresso shot.

Milk can change throughout the year and baristas notice this. Sometimes they come across a batch of milk that turns out slightly meringue every time it’s heated. According to a farmer I spoke to, this can be due to certain times of year when the cows are eating dry grass.

Skim milk can be the healthy option but recent studies show that it may not always help with weight loss. It’s becoming widely accepted that fats can actually curb your appetite by triggering the release of the hormone cholecystokinin, which causes fullness. Fats also slow the release of sugar into your bloodstream, reducing the amount that can be stored as fat. In other words, the more fat in your milk, the less fat around your waist.

Some people have specific dietary requirements, milk allergies or lactose intolerance and that’s where we’re lucky to have the options such as the soy or lactose free milks. Some people enjoy these milks without needing to drink them but, like skim, it can also lead to more sugars.

Full cream should not be a threat to good health if consumed in moderation as part of a wellbalanced nutritious diet. If you’re only drinking one or two small coffees a day then why not treat your taste buds to the full cream flavour without the feeling you’re giving yourself full cream hips.

Derek Crozier is the Managing Director of Freshly Ground Studio freshlygroundstudio.com.au

La Crema Coffee Either In-Store (Where we Roast it) Or Online (We send it Fresh) 678 South Road Glandore SA, 5037 Ph: 08 8463 1650 www.lacremacoffee.com.au

SA PRIZE GIVEAWAY Advantage SA’s Buy South Australian campaign and The Adelaide Review have teamed up to offer a monthly all South Australian prize giveaway.

This month’s prize is 10 bags of premium coffee from Cirelli Coffee Roasting Co. worth over $100!

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Coffee Break with Adam Marley The Argo on the Square barista explains Adelaide’s quality coffee explosion and the secrets to Argo’s brews in the latest Coffee Break.

Specialty coffees houses have been popping up all over Adelaide recently.

Why do you think this is?

There’s probably a few factors at work – people are forgoing big purchases at the moment and to balance this are allowing themselves more ‘little luxuries’, like going out for coffee and cake more often. Adelaide has also embraced a café culture akin to Melbourne – meetings are no longer conducted in boardrooms, but in cafés and on MacBooks. Why speciality coffee? Like everything culinary we do in SA – we do it right.

What makes Argo’s coffee different to others you will find around Adelaide?

Attention to detail. We’re not trying to be fancy, or redefine what coffee should be; we’re solely concerned with presenting a product people will enjoy – exceptional coffee brewed well, with fresh, local milk steamed to the right temperature – what else do you need?

Can you explain how you became a barista and what made you want to pursue it is a career rather than a casual job?

Like many, I started working as a barista part-time whilst studying. But much to the chagrin of my parents, my graduation was accompanied by an epiphany – I didn’t want to work in a glass and steel box and wear a suit; there’s so much life in a café – business meetings, social meetings, students arguing pedantically – I love facilitating it all, my adoration of coffee itself is a bonus. Have you ever smelled freshly poured good espresso? You’d want to do what I do too!

Do you believe Adelaide is entering an age of professional baristas?

Yes, and no. I believe Adelaide is replete with passionate baristas that want to work in coffee as a career, but for the majority it simply isn’t viable. Why make coffee for $20 an hour when you can walk straight out of uni

into a $60,000 a year position? Until the labour market adjusts, until being a barista is actually seen as a career (that is – until consumers are willing to pay more for quality), the mantle of ‘professional barista’ in Adelaide is going to be relegated only to those with enough passion to make the inherent sacrifices worth it.

Your first cup of the day – what is it?

An espresso. Every morning, and throughout the day, we perform what’s called ‘dialing-in’ the coffee: adjusting the variables at our disposal to help the coffee reach its true potential – to really shine. To best analyse the coffee, it has to be black. But I make sure the first sip is just for me – no analysis, just my espresso and me.

Can you describe the blend or the different blends you offer at Argo?

Actually that’s a little complicated – we’re currently experimenting with blends as homework. We’re about to start roasting our own coffee (in the interest of quality control, i.e. being a bit fussy). Eventually we’ll offer more than one blend to cater to different tastes, but we want the workhorse to be a favourite – good strength, good body, nice black or ‘on milk’, sweet and above all – balanced. We’ve invested a lot of time into research, and it doesn’t look like that will cease! The more you delve into coffee, the more complex and beautifully intricate it becomes.

With blending, not only do you have to choose individual beans on their own merits and balance them against one another, but combining Bean A and Bean B doesn’t necessarily get you Bean A+B – more often than not what it gets you is totally bewildering (in a pleasant, satisfying kind of way).

Argo on the Square 211 Victoria Square argoespresso.com.au

the adelaide REVIEW DECEMBER 2012

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food, wine & coffee

CHEESE MATTERS Fit for a king Kris Lloyd

“

This is our Charleston cheese made from jersey milk, named after a neighbouring town, Charleston. We affectionately call this cheese Charlie.” ”Oh really, Charlie?” said Prince Charles with a broad smile, “Camilla did you hear, they call this cheese Charlie!“ To which they both laughed.

When I was asked if I would like to present Woodside Cheese to Prince Charles and the Duchess of Cornwall I had no idea just how memorable an experience it would be.

The market style walkthrough, carefully crafted by Maggie Beer, showcased the timeless Penfolds Magill Estate scenery to the royals, as they meandered the large marquee. Over a dozen producers arranged, fussed and fiddled with their produce to create perfect arrangements – and perfect they were! As I looked around I felt so very proud to be a South Australian, revelling among this selection of world class food and wine. Premier Jay Weatherill, Maggie Beer and Peter Gago guided the royals through this colourful gastronomic display.

Peter Gago greeted the royals with a short tour through the vineyard before settling at his own installation which boasted several bottles

of Penfolds’ liquid gold including the special 1962 Penfolds Bin 60A Coonawarra Cabernet Kalimna Shiraz. They sniffed and swirled the 50-year-old wine before Camilla let out a hearty “cheers” and they tasted a wee drop. Needless to say, all were amused and it set the tone for the remainder of the tour.

The royals proceeded to Saskia Beer, who was enthusiastically stuffing Woodside Saltbush Chevre and Matjarra herbs into her own corn-fed organic chooks. Alongside her, the wonderful Richard Gunner was hanging up an entire saltbush lamb while the three barbecue kettles behind him exuded the succulent aromas of lamb, chicken, beef and kangaroo – teasing our tastebuds as it wafted through the marquee.

Herbs from Aboriginal company Nunga Produce were shared by all in both cooking and garnishing, the sweet and spicy fragrances complemented the spectacular market garden display. Plump spectacles of strawberries, Jerusalem artichokes, mushrooms, tomatoes, capsicum, aubergines, apples and pears filled the marquee with their rich colours. This display perfectly illustrated the vibrancy, strength and diversity of South Australian produce.

Our Farmers of the Year, Mary Retallack and Mr Peter Kuhlmann, chatted briefly about farming to both royals who keenly asked questions about crop yields and livestock health.

Then came the cheese. Prince Charles was attracted to one cheese in particular – if only by curiosity at first, asking, “what is this one?” with an inquisitive look on his face. Covered in fresh herbs and bright, edible flowers, the curiosity immediately turned into delight as he and Camilla

sampled the Monet, before moving onto our Edith’s Cheese. We then discussed milk sources and the Artisan Cheese Making Academy. The next stall belonged to Laucke Flour Mills that displayed a fine arrangement of breads and pastries, wafting that deliciously tempting aroma that bread does.

A pungent and superb olive oil by Joe Grilli and Dee Nolan complimented the bread, while the didgeridoo played by Vincent “Jack” Buckskin (2011 Young South Australian of the Year) set a remarkably Australian atmosphere that felt relaxed and genuine.

Simon Bryant positioned a 40kg tuna compliments of Dr Hagen Stehr AO. The tuna was atop a huge slab of ice and accompanied by his friends Kinkawooka black farmed mussels and MSC certified sustainable Spencer Gulf king prawns. Bryant served the Duchess sashimi with his special Wakame seaweed. Bryant said: “I have always had a precarious relationship with Southern Blue Fin Tuna. I am in awe of its beauty, stunned by its flavour, aware of its export value to the state but slightly terrified by the possible consequences of the world’s appetite for it.”

Prince Charles commented: “That is a very valuable thing”.

“I have no doubt that the inference was on the future of the species and I DO have enough faith in the boys in Lincoln that we don’t let the future king down,” Bryant said.

It is no party without Mr Glenn Cooper and his world class brew. Cooper was relaxed at his traditional Aussie bar sporting a bright and classy beer tie. On the home stretch Duncan MacGillivray from Kangaroo Island Pure Grain finished the afternoon with Tim Tams, produced with soft wheat varieties – Orion and Impala from the farms on Kangaroo Island. Jim Carreker discussed the integration of food and wine experiences into our premium tourism experience.

Hats off to Primary Industries and Regions SA for the initiative to showcase South Australia’s premium food and wine from our clean environment to the royals in this spectacular manner. A swag of local and international journalists accompanied the entourage and they were all delighted to have the opportunity to try the offerings presented.

Sometimes it takes something quite out of the ordinary to make you realise what you may otherwise take for granted. South Australia punches way above its weight with world class food, wine, tourism and people. I encourage you all next time you are out shopping food to consider buying South Australian; we could all easily be South Australian Food Ambassadors.

Kris Lloyd is Woodside’s Head Cheesemaker woodsidecheese.com.au

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the adelaide REVIEW DECEMBER 2012

travel

Enjoying Malaysia’s Islamic flavour To escape the misery of the Adelaide winter my wife Julie and I set off for the European summer with stopovers both ways in Kuala Lumpur.

Terry Hewton

O

n the way over we stayed in a low cost posh hotel in a seedy area of the city – and thoroughly enjoyed it. The hotel had an air of fading grandeur to it. In its dilapidated elegance it was faintly reminiscent of colonial days gone by.

Like a setting from a Graham Greene novel. A forlorn reminder of earlier happier days when the hotel had perhaps been able to fully maintain the splendour it aspires to.

Certainly it had all the trappings and rituals of opulence. Each time we went in and out of the main entrance a uniformed doorman sprang to attention to open the way for us.

The odd thing, however, in all this was that we, and a sprinkling of others, seemed to be the only guests in the place.

Each morning we had breakfast in the fully staffed and catered for dining room. Just the two of us – and a few other guests dotted here

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and there around the expansive interior of the restaurant. Despite the emptiness all the service rituals were played out in full. A deferential waiter signed us into the breakfast room. Even though there was little chance of it happening food containers were regularly checked to ensure they weren’t running out. Enquiries were made about whether we were finding the food and service satisfactory. And so on.

It was all efficiency and discipline - absolutely all systems go - in a setting in which hotel guests were eerily absent. Where were all the guests?

We asked several times. “Ramadan,” we were told. “It’s Ramadan. When this is over the guests will be back again.”

Around the corner from the hotel the opulence ended abruptly. There we found an atmosphere of crowding and hardship starkly different from the feeling of anachronistic wealth and privilege in the hotel. Small merchants crammed onto the pavement in a jumble of makeshift shops. A desperate looking character sitting alone with

the adelaide REVIEW DECEMBER 2012

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his eyes closed and swaying from side to side as if in a trance. Motor cycles weaving in and out of pedestrians on the pavement because there was no room on the road. A young Chinese prostitute lurking at the foot of a flight of stairs.

Her expressionless gaze as she stared out into the street was pitiable.

It was another posh hotel at an economical price for us in Kuala Lumpur on our way back to Australia. This return visit had an even stronger Islamic flavour.

We arrived shortly after the assassination of the US ambassador in Libya and the fallout from the anti-Islamic film on YouTube in various places around the world including Malaysia.

The worldwide Islamic outrage over the YouTube film was running strongly in the Malaysian media.

Initially we encountered no such outrage in the capital. Certainly, there were plenty of general reminders that Malaysia is a strongly Islamic country. In our hotel room we found a copy of a Gideon’s Bible as well as a strongly state endorsed copy of the Koran. Prayer mats were available on request in the hotel.

And guests were reminded of the need for conservative dress on hotel premises.

But nothing relating directly to the film.

We went down to the US Embassy in KL to have a look. To see what there might have been by way of protest there. History in the making and all that. It’s one of the ways Julie and I get our kicks as tourists. Disappointingly, we found no sign of protest whatever.

There was nothing unusual about the embassy at all. A US flag hung limply at halfmast for the three diplomatic staff killed in Libya. Two security men sat in a small office on the embassy pavement. They smiled and waved at us as we walked past.

It was a Sunday – and Malaysia Day (commemorating the establishment of the Malaysian federation) – and the site looked exactly as it ought to have done when it is closed for business.

We also had a look at the nearby British High Commission. There, too, it was ‘all quiet on the western front’. Outside the US embassy a smartly dressed young man wheeling a motor scooter along the road yelled to me above the roar of the traffic as we passed each other: “Thank you for all you are doing for Malaysia.”

GN

“

It was all efficiency and discipline - absolutely all systems go - in a setting in which hotel guests were eerily absent. Where were all the guests? We asked several times.

‘Ramadan,’ we were told.

‘It’s Ramadan. When this is over the guests will be back again.’"

I can’t be sure but it seems likely that despite my tawdry travel-worn appearance he mistook me for an American from the embassy and wanted to say something nice as an antidote to the anti-American sentiment evident in Malaysia at that time. In a swish café directly over the road from the embassy we asked the waiting staff about the YouTube film and the protest. There was initial reluctance to speak.

But later some things were said.

There had, indeed, been a protest over the road. But only a small one. About 20 protesters they thought. A young Malay waiter expressed his outrage over the film. He had viewed it on YouTube and found it utterly offensive. “I wouldn’t want my daughter to see that,” he said. “It’s bad – very, very bad.”

Our Malay taxi driver taking us to the airport for our flight back to Australia held a similar view. “The whole thing is very, very sensitive in Malaysia. Very sensitive,” he said.

Unsurprisingly, the strong theme of the celebrations on that Malaysia Day was national unity. A front page wrap-around of the New Straits Times for that day proclaimed: ‘A Nation Born in diversity - United under a Myriad of Colours’.

Islam, and more generally Malay culture, has always been a crucial component in that diversity – a diversity that has not always been uncontentious in Malaysian history. Perhaps the Malaysian national elections to be held soon will be the next test of that national unity.

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the adelaide REVIEW DECEMBER 2012

books

Mad River and Stolen Prey John Sandford G. P. Putnam & Sons Roger Hainsworth

in 2007. I rest my case. Then I learned Sandford’s latest Lucas Davenport novel, Stolen Prey, would arrive in late October. The Flowers novels are so good I find myself re-reading them. I comfortably forget the plot after a year or so but the characters and the setting of rural Minnesota grip the memory and haul you back. In Mad River the three villains, Jimmy Sharp, Becky Welsh and Tom McCall, think they are Bonnie and Clyde. They are not. Having been created by Sandford they are a whole lot worse. They kill as mindlessly as a drunk swotting a fly. They even kill a state cop – bad mistake. Virgil, trailing them like a gun dog, knows he must stop the killing spree but if he succeeds how is he to take the killers in alive when local cops are hot for vengeance?

Mad River, as gripping and character filled as ever and vividly evoking rural Minnesota, might seem blood-thirsty until you turn to Stolen Prey. A whole family is wiped out and the crime scene is the worst chief investigator Lucas Davenport has ever seen: a whole family tortured to death. The father’s company imports goods from Mexico.

Millions must surely be at stake but the company’s books are clean. The reader becomes aware that there are other characters, some connected to the company, others not, who have computer heisted $20 million from a mysterious bank account with Mexican connections. The three Mexican torturers are still on the trail. Lucas has two mysterious groups to find, one desperate, the other appallingly dangerous. Did I mention the mole peering over Davenport’s shoulder? This is Sandford’s 22nd Lucas Davenport novel. I hate to admit it but it grips like a bulldog – just like the others.

Happily ever after Santa loves us!

In 2012 John Sandford has displayed his alarming fecundity once again. I have published a couple of million words over the years but Sandford makes me feel like a three-toed sloth. About the end of May his latest Virgil Flowers novel, Mad River came to hand. It is the sixth in a series that only began

It is easy for him this Christmas because there are so many wonderful choices for everyone in the family.

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Diego Marani New Finnish Grammar Text Publishing David Sornig

Salvation of a Saint Keigo Higashino Little, Brown William Charles Keigo Higashino’s first novel, The Devotion of Suspect X was a huge hit in Japan as the country found its own noir thriller superstar.

This reviewer, sadly, missed it, but won’t be missing any further instalments, if the fiendishly brilliant Salvation of a Saint is any guide to Higashino’s talents. When a Tokyo businessman is poisoned in his own home, all leads point to his beautiful wife who, unfortunately for the police, has a water-tight alibi, having spent the weekend with family and friends in Hokkaido. Facing the conundrum are Detective Kusanagi and his sidekick Kaoru Utsumi, teaming up – reluctantly – with eccentric physicist Professor Yukawa in order to unravel a deeply complex problem of time and place. The dialogue and unravelling of the intricate plot are simply masterful, brimming with superbly realised, everyday Japanese characters, including suspect wife Ayane Mita and her employee Hiromi Wakayama.

A thriller with virtually no violence and a body count of only one, this novel revolves around depth of character and a minute dissection of the physical possibilities of constructing a crime and an alibi. Dostoyevsky would have loved it. Five stars.

Trieste 1943. A man wakes on a German hospital ship without language, without memory. The only apparent clue to his identity is the name sewn inside his navy sailor’s jacket: Sampo Karjalainen. Recognising the name as Finnish, his doctor, Friari, who is also a Finn, sends the man to Helsinki, the only place he might ever find a language and an identity to which he belongs. The premise, married as it is to the Finnish national myth of the Kalevala, and to Finland’s dramatic involvement in WW2, is desperately appealing.

But the result, oddly for such a short book, seems long-winded. ‘Finnish syntax is thorny but delicate,’ says a Kalevala-obsessed priest, the man’s only friend in Finland, ‘instead of starting from the centre of things, it surrounds and envelops them from without.’ Yes, we do find our shape in the spaces words do not fill; and language and memory are insubstantial, but Marani labours this central thesis through repetition. His sin, which is not the fault of the translation from the original Italian, is simply one of dullness.

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the adelaide REVIEW december 2012

FORM DE SIGN

PLANNING

the adelaide REVIEW DECEMBER 2012

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food, wine & coffee

INNOVATION

SA Design Award winner of Laminex Group Award, Enoki: Common

Australian Institute of Landscape Architects

sa design awards

Best of local design was celebrated at the SA Design Awards

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planning awards

Planning Institute’s night of nights showcased SA’s best planners

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urs bette

Danny Brookes interviews Austrian architect and lecturer Urs Bette

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the adelaide REVIEW DECEMBER 2012

form

The Laminex Group SA Design Awards 2012

T

he 2012 SA Design Awards held at the Adelaide Festival Centre was the highest attended DIA awards night on record.

This year also saw a record number of entires. It goes without saying (yet here we are printing it) that the entire year’s program, inclusive of the awards, would not be possible without our annual sponsors: Laminex, PolyFlor, Caroma and Billi. This kind of support for our design industry is encouraging beyond whatever financial crisis we keep reading about. It must have special mention that this is in fact the 20th year that our Platinum Sponsor Laminex has sponsored the DIA and been naming rights sponsor for the awards.

Such is the enthusiasm for our awards program that preparations have begun for the 2013 program, with people offering support for future events. This is a remarkable indictment on what a success the DIA in SA has made of this event, a spectacle on the design calendar of which we should be proud.

In 2012, we had a record number of entries: 48 professional submissions and 27 student entries.

This number of entries was a remarkable achievement, as compared to 2011 where we had a total of 60 entries, and years previous that would see between 45 and 60, shows the celebration opportunity and showcasing potential for the projects that are entered.

Gold Award winners in the Built Environment category are automatically prequalified for the National Interior Design Awards that have been

well represented by SA projects over the years.

The entries themselves were of an exceptionally high calibre, a glowing report card for design in SA as the judging panels are often quite brutal in their assessments of the works. In choosing the DIA SA President’s Prize we found this to be exactly the case.

Again in 2012 we saw a huge influx of student entries. The number of student entries keep growing each year – students who see the importance of networking and shameless self promotion are able to have their brands recognised by potential upcoming employers and collaborators. It is one of the major success stories of this program that students can be judged alongside their professional counterparts.

Suffice to say, we are excited, not only for all the hard work of the awards to be over for another year, but to be able to sit back and reflect that South Australia is not only a great place to think, design and build, but also a place that recognises and celebrates these traits.

Brendon Harslett Simon Dodd Co-Presidents of Design Institute of Australia SA Branch

Gold Award: Parallax – Fortis et Astutus

Silver Award Bulit Environment: Mossop Construction – Hardy Milazzo

DIA Presidents Award: Spud, Oxigen, Interiors and Woods Bagot

Silver Award Student Entry: RAH, UniSA – Alex Gilmore

Gold Award Object: Elements by PCD Eyewear – Peter Coombs Design

the adelaide REVIEW DECEMBER 2012

form sa design awards The 2012 SA Design Awards were held at the Adelaide Festival Centre on Friday, November 2

Photos: John Goodridge

Gold Award Built Environment: Genesin Studio – Eden

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the adelaide REVIEW DECEMBER 2012

form

SA Design Award winners Built Environment Category (student entry) • Silver Award: Antioxidant Tea Bar- UniSA, Sasha Donohoe

Built Environment Category

• Silver Award: Jumbuck Pastoral Offices- Williams Burton Architects • Silver Award: WSP- Woodhead

• Silver Award: Glass House Refurbishment- TafeSA, Vanessa Thompson-Jones

• Gold Award: Murray Bridge Library- Hassell

• Gold Award: Tea HouseUniSA, Sarah Miller

• Silver Award: Blue ChlliGenesin Studio

• Gold Award: Tea HouseUniSA, Katherine Donaldson Silver Award: Gallery (Tea House Design)- UniSA, Ebony Mattschoss • Silver Award: RAH- UniSA, Alex Gillmore-Johnstone

• Gold Award: L.A.X.Genesin Studio • Gold Award: EdenGenesin Studio • Silver Award: Mossop Construction- Hardy Milazzo

Object Category

• Silver Award: Parallax- Joto

• Gold Award: Elements by PCD Eyewear- Peter Coombs Design

• Gold Award: Sector 7GAsthma Junior Marathon

• Gold Award: Oxigen- S.P.U.D. and Oxigen in collaboration

• Silver Award: Sector 7G- The Hairdresser

• Gold Award: Hazlewood Park House- Genesin Studio

• Gold Award: Parallax- Fortis et Astutus

Object Category (student entry) • Silver Award: Audi Docking Speaker- UniSA, Robert White

Communication Category • Silver Award: Sector 7GTaminga Angus

unisa scoops Design Awards

A

side from winning most of the student prizes at the SA Design Awards, two of the University of South Australia’s Art, Architecture and Design School (AAD) students won The Adelaide Review People’s Choice Award. We ask the head of AAD, Mads Gaardboe, about the secrets to the School’s success.

As the Head of the Art, Architecture and Design School, witnessing your students scoop the DIA Awards must be an exhilarating feeling?

Absolutely, six awards in Interior Architecture and another three in Product Innovation and Visual Communication is an outstanding achievement by the individual students. I also see it as a confirmation of the opportunities the School offers creative and gifted students, and it helps that we have some of the best facilities among Australian universities. In fact the AAD School has had an exceptional year across disciplines, beginning with three prestigious prizes awarded to our architecture students at the Australian Institute of Architects National Awards

early this year, followed by six National Campus Art prizes in painting, photography and sculpture and prizes in glass and ceramics. We want to repeat the 2012 success in the future, and we hope that Adelaide will make use of this talent before other cities in Australia or overseas attracts them.

Aside from sweeping the students awards, two UniSA students won The Adelaide Review People’s Choice Award. This is the first time students have won these categories. To you, does this prove that the future of design in SA in in safe hands?

Winning People’s Choice is an indication that you have managed to communicate an idea or design beyond your peers, and that is an important skill. To win this award at this early stage of one’s career is indeed impressive. There is no doubt that Adelaide has many talented designers, but they need to be promoted, and they need clients to stay here. It is positive that the State Government recently has acknowledged the contribution design can make

Laminex Group Award • Enoki: The Common Residence.

DIA Presidents Award • SPUD, Oxigen, Interiors and Woods Bagot

to improve our environment, but there are still many industries that ignore the benefits to their customers and themselves of employing qualified designers and architects. The result is less innovation, and less choice than we see in communities where good design is a natural expectation.

What changes in the program/school or curriculum do you think may have contributed to this success at the DIA Awards?

The single most important aspect of the school is our professional and highly qualified staff, and their concern for the achievement of each student.

Secondly the School is supported by a formally constituted advisory group, consisting of nationally recognized professionals and academics, and we have very good contacts to local practices. Thirdly we ensure that our curriculum and program structure is benchmarked internationally. We now for example have a straight progression of degrees from Bachelor to Masters and PhD, similar to the European or American model.

You are from Denmark, which is considered the design capital of the world. Is there a Danish school of thought, or are there Danish-inspired elements that you teach your students?

Danish design is about doing much with little, refining rather than showing off. I think that is a philosophy that appeals too many of our students.

We can introduce design concepts and ideas to our students, but in the end it is the choice of the individual student that will define what style he or she will explore.

Silver Award: Jumbuck Pastoral OfficesWilliams Burton Architects

Gold Award: L.A.X.- Genesin Studio

Silver Award Student Object: Audi docking speaker – Robert White (UniSA)

the adelaide REVIEW DECEMBER 2012

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form

Two decades of support

Gold Award: Tea House – UniSA, Katherine Donaldson

This year marked the 20-year anniversary of The Laminex Group’s platinum sponsorship with the DIA here in SA. Over those 20 years, not only have we formed strong professional and personal bonds with the association and members, importantly Gold Award: Murray Bridge Library – Hassell

Silver Award- Sector 7G- The Hairdresser

Laminex has shown our interstate counterparts the true value that is gained, from not only involvement with the DIA, but the importance of design in all

Laminex Group Award: Enoki – The Common Residence

its many forms in our business and in a wider community context.

Laminex would like to take this opportunity to thank all current and former DIA committee members for their valuable contributions over the past 20 years, and look forward to the opportunity to build on this relationship for many more years to come.

Laminex would also like to congratulate all members of the current DIA SA committee for their efforts in organising and hosting such an amazing event and keeping such a good secret regarding details for the awards night.

Also, thank you to all the members for their submissions across all categories this year; it’s great to see such a diverse mix of submissions underpinned by stand out quality.

Tom Clark, Laminex

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Planning Institute’s night of nights

A

wide range of South Australian nominations received this year reflect the considerable work undertaken by planners in all public and private sectors over the last 12 months.

I congratulate the entrants on their submissions and the Awards Committee for the difficult job of judging the entries. The focus for planning has more recently been on the city and the entries reflect the necessary planning for quality public space, interactive community consultation and building liveable, well designed higher density housing. This builds upon the quality of past planning by our fellow members and I would like to take this opportunity to acknowledge that our prize winners in their fields of planning continue the

fine tradition of good planning demonstrated by our predecessors in planning such as Stuart Hart AO whose contribution to the development of the Adelaide region has been recognised nationally.

An evolving process of planning has come to demonstrate the relevance of working across related professions collaboratively as demonstrated in the Integrated Design Commission’s excellent workshops over the past two years. The dialogues engendered have been exciting and we look forward to the continued application of this process through the structures set up by our state premier and planning minister. Landscape architecture, architecture, engineering, surveying and planning contribute to quality outcomes and I am impressed at the

passion and competence of the multidisciplinary teams involved in the entries received.

The nature of planning for good and tangible outcomes necessarily involves a time lag between the planning process and its results, by which time other planning tasks have come to dominate the thoughts and efforts of those who work constantly in the field. As mentioned previously, ‘Good news’ accounts of planning are frequently overlooked for planning involves contested viewpoints from across different sectors of the community.

This is why PIA Awards are so valuable for the profession and the wider public. The event is a time to pause, appreciate and celebrate the quality of planning in ‘making a difference’ in this state and to recognise the people involved.

I particularly thank our sponsors for their support to enable us to promote the PIA awards to a wider audience.

PIA Award Categories and Recipients

Dr Iris Iwanicki FPIA, President PIA SA Division

Planner of the Year Nicole Halsey Young Planner of the Year Michael Arman

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From Plan to Place Award Christies Beach to Port Noarlunga Foreshore Revitalisation (City of Onkaparinga, Shannon Architects, Outerspace Landscape Architects, Taylor Cullity Lethlean, Badge Constructions, MacMahon Services & Outside Ideas) Revitalising St Peters Project Stage 1, Dunstone Grove Linde Reserve (City of Norwood, Payneham & St Peters) Outstanding Student Project Tertiary Unley Road Transit Corridor Redevelopment (Gabriella Vikor, Jack Reynolds, Jordan Peters, Laura Kerber & Mohammed Ali from the University of South Australia) Best Planning Ideas Award, Large Project Adelaide City South East Precinct Master

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the adelaide REVIEW DECEMBER 2012

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form pia awards The Planning Institute Awards were held at the Sebel Playford on Friday, November 9 Jack Hazebroek, Henry Inat, Angela Hazebroek; Des Commerford & Kirsty Kelly; Mayor Bill Spragg & Erica Womersley; Nicole Halsey (Planner of the Year); Tanya Court, Victoria Shute, Kirsty Kelly, Elissa Hoffman & Sally Roberts; Nicole Rolfe, Amanda Balmer, Warwick Keates, Sue Suter; Michael Arman (Young Planner of the Year); Mark Goldsworthy, Member for Kaval, Dr Iris Iwanicki & Leader of the Opposition, Isobel Redmond; Gabrielle McMahon & Roger Freeman

Photos: Jonathan van der Knaap

Plan (Renewal SA, Jensen Planning + Design, Grieve Gillett, Bell Planning Associates & Intermethod ) Best Planning Ideas Award - Small Project Streaky Bay District Management Plan ( District Council of Streaky Bay, Suter Planners, Wax Design & URPS) Public Engagement and Community Planning Award Adelaide Central Reinforcement Project (ElectraNet Pty Ltd, Parsons Brinckernoff, Aurecon & Gould Thorpe Planning) Improving Planning Processes and Practices Award Streets for People Compendium for South Australia Practice (South Australian Active Living Coalition, Heart Foundation, Department of Planning Transport and Infrastructure, Renewal SA, Department of Health and Ageing, GTA Consultants & Intermethod)

Cutting Edge Research and Teaching Award Green Infrastructure Working Paper (Connor Holmes, Oxigen & Botanic Gardens of Adelaide) Presidents Award Resilient Coastal Communities: Preparing for Sea Level Rise in the Upper Spencer Gulf (Eyre Peninsula Integrated Climate Change Sector Agreement Committee, URPS, Sinclair Knight Merz, Dr Mark Siebentritt, Bell Planning Associates, SGS Economics & Planning, Norman Waterhouse Lawyers Ministerâ&#x20AC;&#x2122;s Award Adelaide Central Reinforcement Project (ElectraNet Pty Ltd, Parsons Brinckernoff, Aurecon & Gould Thorpe Planning)

Great Place Award Stirling - The Spirit of the Hills (Adelaide Hills Council & Stirling Business Association)

Special thanks to PIA, our Clients and Colleagues who encourage us to excel.

Best Planning Ideas - Small Projects Award T 08 8463 0886 F 08 364 0105 waxdesign.com.au

District Council of Streaky Bay District Management Plan Award

Ministerâ&#x20AC;&#x2122;s Award District Council of Streaky Bay District Management Plan Commendation

Cutting Edge Research and Teaching Award

Public Engagement and Community Planning Award

Best Practice Open Space in Higher The City Plan 2030 : Shaping Our Density Developments Project Future : Engagement with Children and Young People Commendation Commendation

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Designing personality Danny Brookes discusses art, architecture and sustaining urban creativity with Urs Bette, Austrian architect and lecturer at the University of Adelaide.

Danny Brookes

U

rs, you are an accomplished designer and architect with a really interesting background in Europe and more recently Australia. You originally trained as a graphic designer, and then became exposed to architecture through your workings with Wolf Prix at the firm Coop Himmelb(l)au. Wolf seems to have once had quite a strong orientation to a deconstructivist, formal design approach. Does this stance follow in your work?

I believe Wolf’s approach was more political than formal. In architecture form and content can’t be separated: form affects us directly, long before we “know” of the content, it constitutes space and the character of a building, it is everything. There is a common desire in Austrian architecture to celebrate space and develop spatial sequences, which goes back beyond Himmelb(l)au. Yes, they had a strong influence, however, I believe to have established my own path. My work develops around more clear and articulated forms that

have a strong relationship to an activated ground plane. For example, in the residential project I came to work on in Adelaide the space underneath actually flows into and through the object.

I am quite interested in your Uralla Court project, which was a design for a house in the Adelaide Hills. In terms of its sculptural quality, you seem to have taken a series of really reduced and abstract forms, that are very minimal and clean on the exterior, and then within that you let this spatial complexity unravel, which I imagine would be really quite fascinating to experience in real time and space. Is this notion of simplicity and complexity, openness and closedness essentially of complementary dualities - is this something that persists in your work?

I try to amplify existing qualities of a site by adding something different. Like, for instance, you might put melon together with prosciutto, to bring out the sweetness of the melon. It works with contrasts.

I also try to offer as many choices as possible, as much variation in spatial situations as the program allows. That is, I believe, my role as an architect. I

have to organise the space, right, but within that I think I have to offer experiences like we might have if we wander through nature. Nowadays, where cities are growing and the experience of nature is becoming less and less, architecture will have to give back and increase its complexity and richness in sensory stimulation. If you walk though a canyon and up a ridge, you have so many things happening, and many Australians love going to these places to enjoy these experiences. Yet, in buildings, everybody seems to accept the simplest spatial expression as a given condition, which I would like to question. Luckily, I have some peers back in Vienna and in Australia who can prove you can build this richness. This is what I am trying to achieve in architecture.

I’ve heard you describe your work in terms of ‘little creatures’; you seek to create a sense of character and personality in your design work. It seems you are not interested in a purely infrastructural approach to architecture, piecing buildings together in a utilitarian manner? Or is this sense of ‘character’ in your design a function in its own right?

Uralla Court II Credit: Bette / Kerbler

That surely links back to how I was brought up in architecture, where Coop Himmelb(l)au established the author as being at the centre of the design, through their intuitive scribbles, which captured an emotion that was then translated and carried through into the built work. The author is as much present in the work as the client and the brief, which eventually leads to authentic and unique buildings.

The spatial experience is at the centre of my interest, not the icon of the object. I fabricate the ‘creature’ to start the design process, its character prompts a reaction from the site, it kick starts the dialogue

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from which the project unfurls.

I think designing a sense of personality in our urban spaces is interesting, and important. When we talk about sustainability in an urban design context, I think one aspect is about creating environments that we generally want to keep, that we care about. Building culture today can at times seem quite throwaway, quite shortsighted and onedimensional. To create some kind of personality or atmosphere in design projects, a sense of personality and meaning that resonates with the community, I think is a worthwhile pursuit.

Today, ‘sustainability’ is very much reduced to its functional aspects, which is a pity. One of the general challenges that you have as an architect or designer is that it is very hard to talk about things that are not directly quantifiable. It is very easy to sell things when you can count this-and-that number. You’re totally right, it is sustainable if a building is loved in the way it feels, smells, looks, behaves.

I wanted to talk a little about your attitude to creativity in your architecture practice. I mean, I don’t see your work as engineering, I don’t see it as strictly architecture and I don’t see it as art, but rather as some kind of blurry overlap between these different realms.

Ideas are born at the edge of existing knowledge, when one becomes a dilettante again and recombines old concepts with new experiences.

Specialisation can blinker your vision. I had a great Professor for structural engineering – Klaus Bollinger – who worked on numerous Himmelb(l) au projects and lately did the Rolex Learning Centre for SANAA. Understanding structure is part of my work, which, ironically, sometimes hinders me to develop it further. I’m reluctant to design things that I wouldn’t know how to build, how to manufacture or craft. Yet, as a designer, you should always have one foot in uncharted territory, exploring. That’s where design becomes research. Collaborations can open up these new territories. For the exhibition “to the islands” at the SASA Gallery, I worked with Margit Bruenner. She is an artist with a background in architecture, who is interested in ‘the construction of atmospheres’. She tries to capture and activate the atmospheres of spaces by unfolding their inherent potentials through performative installations. We

exchanged steps of the evolving project between us, back and forth, without actually talking or discussing it. Each one would continue the others trail. It started with paper sketch models built on site in Port Adelaide, became an architectural sculpture in the Gallery, and will turn into an architectural proposition in the end.

On a much more pragmatic level, in Melbourne I think it something like one percent of a public building’s budget is allocated to this thing we call ‘art’. Although, I feel that this field has become somewhat separate to architecture. Melbourne Docklands is surely a good example of this: you have this huge area of apartments, and then a kind of dispersal of sculpture objects scattered along this massive, empty foreshore. It’s an example of where the urban design, the architecture, the public art and the policy supporting it fail to harmonise.

Rather than strictly separating these roles, the idea of collaborating so that the overall project is better integrated, if not more complex, is possibly more productive for quality living environments. Maybe this is something that Adelaide could lead in the future?

This is a complex issue. Public art should not be used as an afterthought to upgrade poorly designed spaces. Art is no decoration. In this regard the responsibility lies with the architect and landscape architect. On the other hand you have the model of the quota, which for example in Austria is used to support the artist community, which is important as well. It all comes down to the quality of the master plan, the architect, landscape architect and artist involved. There is no one-size-fits-all solution. As an

architect, you wish you could have a very intimate collaboration with an artist, yet that works only on a level of personal trust. It’s great if it works, but it can’t be forced or institutionalised.

Speaking of public design, I know you wanted to be part of the recent competition for the Torrens River footbridge.

It was an Expression of Interest process, from which five firms were selected. I was rather disappointed when I was not selected. I had teamed up with first class players, landscape architects James Mather Delaney from Sydney and engineers Bollinger + Grohmann from Germany. As a local designer, if you can’t even be allowed to take part in a competition then you wonder. I think there should be a political agenda to allow upcoming architectural firms to compete in situations like this.

You actually worked on a bridge design.

Yes, I thought I need to develop a position in order to critique what is there. What we now have is a link between the upper level of the festival plaza and the oval. Whereas, what I think you should do is activate the water edge, the bank itself, and still allow – sure – the people on the upper level to access it. I find, for the people walking along the water’s edge, the underpass situation is an undesirable space. I tried to connect edge to edge, and not see it as a pure transit, but rather as an extension of the existing landscape; more like topography than a traditional bridge. We have this lawn beneath the festival centre where functions are often happening; they could extend onto the bridge. It is 60m wide, so you can actually do things on it.

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“

Claims that intangible heritage is too inscrutable to deal with might, however, be missing the point. According to Professor Galla, new holistic approaches to heritage practice are challenging the binary of nature and culture on which the UNESCO conventions were once based.”

should be providing the tools and support for living custodians to practice and pass on their knowledge and experience to the next Professor Galla

More than meets the eye

generation. Galla cites the Cobb and Co museum in Toowoomba as a local example of such a community-centred institution. Concerned that so many of the skills and associated knowledge behind the collections were being lost, the museum established a training centre for ‘heritage trades’ which offers training in the trades themselves, as well as in the conservation and maintenance of the collections.

What does cultural heritage mean, exactly?

As World Heritage inscription comes under scrutiny, new paradigms for the planning and management of World Heritage sites are also beginning to emerge. These involve the full

Stephanie Johnston

Dating from 1972, the World Heritage

examples of living heritage that have made the

participation of local communities in determining

Convention originally built on the notion of the

list, the enigmatic nature of which has made

natural and cultural significance in the first place,

he 40th anniversary of the UNESCO

American national parks system, extending the

it the subject of much mockery and some

and in managing and developing the sites over

World Heritage Convention sparked

defence of natural landscapes to monuments,

serious criticism. (For those not in the know,

time. “The aim is to contribute more effectively

international debate over the value

buildings, towns and cultural artifacts. A second

ludodiversity refers to the wide diversity in

to community building by resourcing and

and nature of World Heritage listing

treaty, the Convention for the Safeguarding of

games, sports, physical exercises, dances and

strengthening local capacity for action,” says

in the 21st century. According to The New

Intangible Cultural Heritage, was introduced

acrobatics practiced in Flanders, including

Galla.

York Times, World Heritage has become big

in 2003 to defend and incorporate intangible

twenty-three types of shooting games, bowl

business, bringing hordes of tourists to poor

culture such as folklore, oral traditions, language,

games, throwing games and ball games).

countries that can use the jobs and the cash.

music, crafts, knowledge and rituals into the

This can have positive impacts by assisting

heritage agenda.

T

He points to the example of Ha Long Bay in Vietnam, which has been twice listed by

Claims that intangible heritage is too

UNESCO, in 1994 for its outstanding landscape

inscrutable to deal with might, however, be

and aesthetic characteristics and again in 2000

with the preservation of heritage through

The Intangible Cultural Heritage list not only

missing the point. According to Professor Galla,

for its scientific and geological values. “However,

significant economic investment, but it can

represents inherited traditions from the past,

new holistic approaches to heritage practice are

in the process of inscription the local Cua Van

also overwhelm the very sites it is designed to

but also contemporary rural and urban practices

challenging the binary of nature and culture

people were neither involved nor consulted,

protect, by pandering to the demands of mass

that reflect and perpetuate the world’s cultural

on which the UNESCO conventions were

and there was no acknowledgement of their

tourism at the expense of local communities.

diversity. The point, according to UNESCO

once based. “Nature is culturally perceived,”

intangible heritage.”

World Heritage listing has thus evolved from

guidelines, is not to preserve and protect, which

he argues. “The understanding of the museum

Galla went to work to bring together resources

a technical measure aimed exclusively at

is to freeze something in time, but to safeguard.

needs to be liberated in order to encompass the

and interest groups to establish the Cua Van

preservation, into an acclaimed and globally

Traditions can change and evolve as they are

idea of a genuinely inclusive cultural centre that

Floating Cultural Centre and Museum, which is

respected brand.

passed down through a living heritage that is

facilitates the continuity of living heritage.” In

devoted to the living heritage values of fishing

continually being recreated.

Australia, during the 1980s, Galla facilitated the

communities who live on the bay. “Prior to the

“The last two decades have seen the reworking of heritage policy and conservation from a ‘first

UNESCO’s intangible heritage list has

national affirmative action for the participation of

initiative there were proposals to sedentarise

world’ construct into an inclusive post-colonial

enshrined over 260 such items to date, ranging

Aboriginal People and Torres Strait islanders in

the fishing communities on land,” he told The

practice which seeks to integrate tangible and

from a program of ‘cultivating ludodiversity in

Australian heritage institutions from the position

Adelaide Review. “When local communities are

intangible heritage,” adds the voice of Professor

Flanders, Belgium’, to the ‘watertight-bulkhead

that all heritage is intangible. The intangible is

able to have their voice heard, and when the

Amareswar Galla, keynote speaker at the 2012

technology of Chinese junks’ and the ‘traditional

simply represented and illustrated through the

institutions break out of their object-centred and

OzAsia Festival, and editor of the flagship 40th

knowledge of the jaguar shamans of Yuruparí,

tangible.

place-centred conceptual straightjackets, a more

anniversary publication World Heritage: Benefits

Colombia’. Falconry, the tango, Vanuatu sand

So in addition to collecting, collating and

inclusive understanding of the World Heritage

Beyond Borders.

drawing and Viennese coffee culture are other

documenting, museums and heritage sites

area is revealed to both locals and visitors alike.”

the adelaide REVIEW DECEMBER 2012

63

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