1. Bauman on multicultralism


    from nicola sessa Added 37 0 0

    Interview and video, Nicola Sessa Photo, Gianluca Cecere Film editing, Claudia Pozzoli

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    • Welcome to London // James Morgan // 1080p


      from James Morgan Added 1,622 15 2

      A journey through India, Turkey, Japan and Spain. All without leaving London.

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      • Cantares Venezuela Choir's Gala Night


        from Daniel Leon Rodriguez Added 52 0 0

        The Saturday, 28 of April, Cantares Venezuela Choir did a successful fundraising concert sharing the scenario with El Cuarteto Internacional and Pasos de Venezuela at the John Dutton Theatre to support the choir’s trip to the XV International Choral Kathaumixw festival in July of this year. Produced and edited by Daniel Leon Rodriguez d-leon-rodriguez.ca https://www.facebook.com/pages/Daniel-Le%C3%B3n-Rodr%C3%ADguez/371705782863576

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        • Friendly Fire


          from Aussie Beach TV Added 44 0 0

          WARNING; This video contains languages, images and themes that may be considered offensive. Melanie Anderson and the Aussie Beach TV crew went to the Surfers Paradise RSL club on ANZAC Day to interview patrons and ex-servicemen.

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          • Australian Identity, Multiculturalism and The Republic


            from CaTV Added 392 1 1

            Dr Larry Buttrose at the Groundswell Multicultural Arts Forum 2012, the Carriageworks, Sydney, 14 April 2012. A couple of weeks ago I put a posting on my Facebook page asking friends, many of whom work in theatre and other arts, to nominate the great Australian plays of the past 20 years. I stipulated legit theatre - not a musical - and written originally for the stage, not adapted from another medium, such as Cloudstreet, for instance. There were quite a few nominees, but little if any consensus. Finally one person posted “I think it's preferable to think about ‘good’ plays rather than 'great'. It's too easy for pomposity to creep in with considerations of 'greatness'.” Which suggested a terrific promotional line: “Australian theatre –not great, but good.” The last play that arguably few would quibble about as a classic was Michael Gow’s Away. It premiered with the Griffin Theatre Company at the Stables in Sydney in 1986 - that is, more than a quarter of a century ago. But if there is no widely acknowledged classic Australian of the past quarter century, despite, the millions of dollars put in by funding bodies, and the best efforts of those who preside over development of new works… Why not? The answer, I suspect, is complex, and informs many of the concerns of our society. But first, a question: Do Australia’s major theatre companies, funded in part as they are out of the public purse, which carries with it a responsibility to assist Australian playwriting - read new unsolicited plays? Not as a rule, no. We might remember that renowned playwrights David Williamson, Jack Hibberd and John Romeril all hailed from Melbourne. So does Melbourne’s flagship company, the MTC, read unsolicited plays? Quote from their website: “No. MTC does not have the resources to read and assess the hundreds of unsolicited manuscripts received each year from playwrights, and it is our strict policy to return them unread.” So would Melbourne’s major company read Williamson, Hibberd and Romeril if they were starting out now? Emphatically no. Williamson’s The Removalists would have been returned, unread. Now unsolicited plays must usually be sent off to a central agency, Playwriting Australia, which the literary managers of the major companies are allegedly in constant vital contact with, keenly seeking out the new great works. In effect, and despite the best efforts no doubt of Playwriting Australia, for the most part they go down an Orwellian memory hole, never to be seen again. Consciously or otherwise, the clear message the companies are sending to Australia’s playwrights – other than David Williamson and a small number of others – is go away and take your pathetic little pieces of paper with you. We will certainly not read your work, grimily unsolicited as it is, and do not darken our in-trays again while we get on with these brilliantly written and thoroughly developed gems we’ve picked up from the West End, the National, Broadway and off-Broadway, which our privileged patrons will yawn through, except for when the big star does their turn. And if you do develop your work through workshopping and the like, don’t expect us to send anyone along to a reading. We’re all terribly busy. Oh, and when your work is fully developed - we won’t read it either. The big companies plead they don’t have the resources to read all the new Australian plays that might be submitted if they did. Well… they have the resources for set builders and painters, sound and light technicians, and they have the resources for office staff, front of house, and they have the resources for publicists and producers, voice coaches and choreographers and yoga teachers, and of course the actors and directors… they have resources for a multitude of things - but not to read all the new Australian plays they are offered. But if all the major companies devoted themselves to reading all the new Australian plays that came in – in the hundreds per year, according to the MTC, and is that really such an onerous number to read? - and gave noted responses to the writers, the new works sent around to a number of companies would receive a great deal more of, and a wider critical response, and the writers would go back to their desks with more of an idea of where to go next. We would, in effect, be developing theatre as part of our national literary culture. And if those big and powerful theatre companies are not in the business of doing their all to help create a national theatre for our country – pray, what are they in the business of? As that ever acute and astute observer of Sydney theatre, Jane Simmons, recently remarked on her blog, shitonyourplay.com: “when is Australian writing going to get the funding and development it needs so we can consistently shape and refine our own poetic and theatrical national, social and cultural agenda?” If the major companies go on the way they have been, the answer to that is the 12th of Never. Classic drama articulates the dilemmas, struggles and challenges of a society - and cuts to the bone. That’s why Miller’s The Crucible was so powerful in 1950s McCarthyist America, and why when Britain was stirring from the rubble of WW2, Osborne and Pinter emerged to articulate a new Britain. That is why South Africa’s drama heyday was the fight against apartheid, and Eastern Europe’s was wily subversion of Soviet rule. Our own heyday was the late 60s to mid 70s, when around the time of the Whitlam government, there was a brief flowering of a theatre that spoke in a voice we were just finding, about things that concern us as a people… epitomised in classics like Williamson’s Don’s Party and Hibberd’s Dimboola and A Stretch of the Imagination, and Romeril’s The Floating World. A wild postcolonial boy - and girl - were on the stage… and these works were seen and loved not just by critics, but by a very wide cross-section of the community. In other words, they did not cater only to a sectional interest, such as, for instance, the high arty end of auteur theatre, but appealed to a great variety of Australians, of widely different backgrounds. They were truly works of national appeal, of a national theatre. But it proved all too much a stretch of the imagination, and under the stewardship of nonvisionary politicians, public servants and policy planners, it all slipped through our fingers. The status of the arts in Australia has sunk now to the point that many people would be hard pressed to name the arts minister. That is, Simon Crean, whose formal title is Minister for Regional Australia, Regional Development and Local Government, and Minister for the Arts. The last Minister who had a title like that was Sir Les Patterson, whose other portfolios were Inland Drainage and Rodent Control. But, all this aside, is it the theatre companies, is it the funding bodies, the governments, who are ultimately responsible for the failure of our nation’s theatre to produce one truly classic play in the past quarter century? Or is it just changes in society, in economics, technology, social media: is the concept of a theatre classic even relevant any more, and is theatre already a nicely costumed cultural museum? All are possible explanations. But the real problem, I suspect, lies with all of us, the Australian people. My belief, call it a polemic, is that we shall not see a flowering of an Australian theatre again until we declare an Australian republic. Because we, the Australian people, have so far not acted to achieve, would not even vote for, for the thing that people in India and North America and so many other countries… Kenya, Algeria, and, close to home, East Timor, gave their very lives for, being complete independence, through a republic. If you ask many Australians how they feel about a republic, they would say something like, “uh-huh, in time yeah, but we’ve got bigger fish to fry just now.” Bigger fish, such as buying the four wheel drive and telling pollsters they want the boats of refugees turned away, and being too lazy-busy to bother with global warming, equitable taxation, a fairer and a better schools system. But what “bigger fish” is there, really, than the make-up, and ultimately identity, of one’s own country? Instead we kow-tow to the British monarchy, whose unelected representative, we must recall, sacked our democratically elected government in the lifetime of many of us. It is interesting to consider for a moment who did sack Gough Whitlam and his government. Most would say John Kerr, the Governor-General in 1975. But he was only the representative of the British monarch, our viceroy, as it were, acting in her stead. The person who ultimately sacked the Whitlam Government was our Head of State, the current Queen of England, Elizabeth II. Now we tend to think of her as a nice old grandmother. But in her name - or was it on her say-so, and how would we mere Australians ever know unless wikileaks could one day ferret out the cables - the only reforming Australian federal government in living memory was sent packing, and the conservatives installed. A republic – no we’ve got bigger fish to fry. Eh. And so we remain like some timorous weirdo kid who never got up the guts even to leave home. Well, we have to do it, and now. What are the implications for multicultural Australia of a republic? One could suggest there would be many. In a republic, I would suggest, there would be a subtle at first shift in multiculturalism. Until the declaration of a republic, all ethnic and cultural groups, including indigenous Australians, have had to deal with an essentially 19th century colonial notion of Australia derived from the grandiose notions of empire of Britain’s entrenched monarchy and ruling class. These groups have been seen by all too many Anglo-Celtic Australians as apart from the central culture, in terms of its own ruling values and practices. But the new republic would be creating its own history, forging its own make-up, own culture, not clutching still to a cadged remnant of the imperial history of a foreign power on the far side of the world. Take the white queen from the board, and all our pieces are on a more equitable footing. None of this should be construed to suggest, however, that in an Australian republic there would not be a healthy ongoing diversity of languages and cultures from all around the world. There would be - of course there would. But now they would be a full partner in the new Australian nation, instead of being labelled minority, or Other, as they all too often still are. And one can only hope that the next Australian stage classic is written by an Egyptian resident, a Vietnamese Australian, an Afghan refugee, an indigenous Australian, in the new voice of a new nation. One of the most fascinating things for me about teaching at the University of Western Sydney in Penrith is to read out the student roll at the start of semester, that gives me the opportunity and the challenge to do my best to pronounce properly the names of students who have come, or whose families have come, from every corner of the globe, to that little seminar room in western Sydney. I tell them that that the student roll is in its own way a celebration of the success of multiculturalism. This, might I add here, is despite the most disgraceful and vile efforts of divide and rulers such as Pauline Hanson, John Howard, Tony Abbott and Scott Morrison, most of them opponents too of a new Australia, a republic that would fully recognise and honour all those names I read out each semester, and the heritage that each name carries with it, in the very weft of the new society that would flourish thereafter, in the Republic of Australia.

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            • Angela Glover Blackwell on the American Dream


              from BillMoyers.com Added 6,247 0 0

              On this week’s Moyers & Company, Bill Moyers and Angela Glover Blackwell discuss what fuels her optimism.

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              • An Optimist for Our Times April 13, 2012 Full Show


                from BillMoyers.com Added 11.8K 5 1

                Angela Glover Blackwell has spent her adult life advocating practical ways to fulfill America’s promise of “life, liberty, and the pursuit of happiness” for all. Now, with our middle class struggling, poverty rising, and inequality growing, the founder and chief executive officer of PolicyLink, an influential research center, finds reasons for hope in the face of these hard realities. On this week’s Moyers & Company Bill Moyers and Blackwell discuss what fuels her optimism.

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                • MMHRC Introductory Video


                  from MMHRC Added 50 0 0

                  This video with Dr. Laurence Kirmayer, Director of the Culture and Mental Health Research Unit at the Jewish General Hospital, is an introduction to goals of the Multicultural Mental Health Resource Centre (MMHRC) website. For more information, or to visit the site, please go to: mmhrc.ca

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                  • Philly Flash Mob Thugs Stick up Temple Student Who Shoots Back


                    from Chromelung Added

                    The white population on earth has gone from 28% in 1950, to less than 9% today(8.9%) and the zionist controlled mainstream media wants us to believe that whites are the racists? I have never seen a white flash mob.

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