CREATIVE FESTIVALS: Events & Forums in Western Sydney
Creative Explosion in the West: Creative Arts Festival, University of Western Sydney, 15-23 October 2009 with Ensemble Offspring
Download Brochure: Creative Explosion
The creative aesthetic behind this project was to have a strong intercultural focus featuring Asia-Pacific traditions of Korean samulnori drumming, Filipino kulintang, Japanese shakuhachi ‘moment’ aesthetic and East Asian string techniques (Korea, Japan, China) interacting with contemporary music. These musical aesthetics were contextualized by poetry readings and improvisation, a series of intercultural ethnographical films, and panel and forum presentations. The festival featured concerts by Ensemble Offspring with UWS staff and postgraduate students with Workshops, Panels and Forums, which included two invited speakers, percussionist Claire Edwardes and composer Damien Ricketson.
Publication: Creative Explosion CD (Wirripang)
Music of the Spirit Project at Aurora Festival 2008 with director Matthew Hindson; Riverside Theatres; Joan Sutherland Performing Arts Centre Campbelltown Arts Centre
Chinary Ung, Ross Edwards, Anne Boyd, Roger Dean
The purpose of this Asia-Pacific investigation—a collection of reflective and analytical writings drawn from a series of concerts and workshops—was to explore music with a spiritual basis from around the Pacific basin related to Western art-music composing, discussing its sources and methods towards identifying an Asia-Pacific musical identity within the Western art-music tradition. This emergent Pacific musical identity can be viewed as something outside mere insider/outsider paradigms to instead be a complex fusion of traditional Asian and Pacific cultural values alongside transported European-originated ideas. Perhaps this complex mix of Asian-Pacific values and European-Pacific migration pattern influences can be seen as a value system in itself that centres around place—the Pacific. In a nutshell, this Pacific voice could be defined as having three essential essences: un-dampened resonance, eclectic attitude, and metaphysical time related to the Pacific.
Publications: Music of the Spirit CD (Wirripang); Music of the Spirit: Asian-Pacific Musical Identity book (Australian Music Centre)
The Intercultural Event at Aurora Festival 2006 with director Matthew Hindson, Riverside Theatres, Anne Boyd, Ross Edwards, Stuart Greenbaum
These events took place in the prestigious Riverside Theatres complex within the Lennox Theatre, Riverside Theatres in the heart of the heart of the Western Sydney area, Parramatta. The forum featured Stuart Greenbaum, Anne Boyd, Michael Atherton and Bruce Crossman. It included creative process exchanges between the composers and featured improvisations such as Greenbaum’s jazz, Atherton and Crossman’s cross-cultural collaboration, and Boyd’s provocative meditative silence. In the Intercultural Concert, ancient musical traditions were presented such as Korean Samulnori from the Korean Catholic community, Filipino chant in the Tagalog language, Gregorian chant from the Sydney Chamber Choir and Jewish Synagogue chanting from a former cantor at the Sydney Synagogue. These traditional musical examples lead into contemporary Australian music influenced by these traditions and the interaction between jazz and classical music. Sally Macarthur and Bruce Crossman convened the accompanying conference from the University of Western Sydney.
Intercultural Creativity: Asian-American-Australian Sound-Dance and Multi-media Connections, University of Western Sydney, 2004
Hi Kyung Kim (USA), Andrew Imbrie (USA), Chan Hae Lee (Korea), Merlinda Bobis (Philippines/Australia), Kim Jeong-Seoung (Korea), John Sackett (USA), Jean-Michel Fonteneau (USA), William Winant (USA), Ji Aeri (Korea), Ensemble Parallale/Nicole Paiement (USA), Aeju Lee (Korean National Intangible Treasure in Buddhist Dance)
War, Creativity and Communication: An Australian Perspective on East Timor, University of Western Sydney, 2003 with Charisma
Anne Boyd, Andrew Ford, Michael Atherton, Ros Dunlop, Martin Wesley-Smith