The new production of Muruwari playwright Jane Harrison’s The Visitors is coming to the Canberra Theatre. Photo: Instagram.
I stood at an exhibition at CMAG last week and saw a reference to my father-in-law – a press photographer for around 40 years.
As I stood there, I could hear his voice, see his works, experience his smile. It connected me to stories of family; it reminded me of social change in recent decades. That is one of the many things that the arts can do. But only one.
I regularly speak with people about the benefits of the arts. Sometimes it is economic benefits; sometimes individual wellbeing; sometimes emphasis is on how society is motivated and changed.
The arts connect with us as individuals (like my father-in-law) but often go much broader. They are about our community identity, our character. They invite us to consider who we are and who we want to be. They capture and reflect our soul.
The 5th National Arts Participation survey, released last month, reminded us how this occurs in Australia. First Nations, as well as Culturally and Linguistically Diverse communities, are more engaged with the arts than Australians at large. Younger Australians want the arts to reflect the diversity of our population. They believe arts can help create a deeper understanding of different people and perspectives.
That is why the arts – and the way that we engage with them – are so important. Who do we see in the art? If we can’t see ourselves, if we can’t understand others, it is very hard to relate. We have to see and recognise cultures, identities, sexualities, ages – all elements of society in art. When we do, it is vital that we also acknowledge it and pay respect.
Recently, such a request for this acknowledgement and respect by a theatre company here was misunderstood as some form of attack. That misunderstanding can happen when the gap between our artists and those interpreting or reviewing it becomes too great. Administrators, directors and critics have to ensure we are sensitive to the character of the arts. If we lose that, it is at our peril.
In November, ‘The Visitors’ will be in Canberra. Written by Muruwari playwright Jane Harrison, it is a powerful, riveting insight into one of the most impactful and painful days in Australia’s history. Its cast includes actors who are Pertame and Tiwi, Wiradjuri and Ngunnawal, Noongar and Budmiya.
I look forward to creatives from these and other cultures speaking to a society that is probably too comfortable for me.
At the same time, QWIRE celebrates its 30th anniversary of music and song. It has a history of bridge-building and stereotype challenging. It will, as always, be voiced by members of the queer community and allies.
I look forward to being entertained, encouraged and extended.
Recently, I was privileged to see Dramatic Productions’ West Wide Story. The talented cast included the casting of Latinx artists as the Sharks – a Puerto Rican gang – and their family and community. An article described this casting decision as an “experiment” by the production company. It would be better if we had learnt to see it as culturally appropriate casting. Surely, we are long past thinking of that as somehow experimental. Along with the great crowd that was there on opening night, I found it a fantastic performance.
It is an exciting time for the arts here in Canberra, particularly for theatre. The ACT Government is conducting community consultation for the Canberra Theatre Centre Redevelopment. It is a project that I am extremely passionate about. One intention of the consultation is to see how we can ensure that everyone at the new CTC is welcome.
While the new centre is still a few years away, I hope that we can develop and foster the arts here and now in a way that grows and ensures inclusion, welcome and respect. I hope those of us who have the privilege of influencing how others see and experience the arts can learn more about how we can open ourselves to new ways of seeing, hearing and participating. It will benefit all of us as we do.
Gordon Ramsay was Minister for the Arts, Creative Industries and Cultural Events from 2016 to 2020. He is currently CEO of the Cultural Facilities Corporation.
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