Diane Busuttil Reports on The Refugee and Asylum Seeker Symposium: An Artistic and Political Platform Opposing Oppression

The Refugee and Asylum Seeker Symposium: An Artistic and Political Platform Opposing Oppression was held on 16th October 2015 at Customs House Sydney

 Saba Vasefi, Filmmaker & Asylum Seekers Centre Ambassador; Senator Scott Ludlum; Kween G, Hip hop artist; Minerva Khodabande, Sydney Youth Orchestra Cellist; Dr Graham Thom, Amnesty International Refugee Coordinator;Hani Abdile & Michelle Cahill, poet; President of Refugee Council of Australia Phil Glendenning; Prof.Sahar Amer, Chair of Department of Arabic Language and Cultures, The University of Sydney; Prof. Stuart Rees, CEO of Sydney Peace Foundation;Prof. Wendy Bacon: Academic and Investigative Journalist University of Technology.


From right to left: Saba Vasefi, Filmmaker & Asylum Seekers Centre Ambassador; Senator Scott Ludlum; Kween G, Hip hop artist; Minerva Khodabande, Sydney Youth Orchestra Cellist; Dr Graham Thom, Amnesty International Refugee Coordinator;Hani Abdile & Michelle Cahill, poet; President of Refugee Council of Australia Phil Glendenning; Prof.Sahar Amer, Chair of Department of Arabic Language and Cultures, The University of Sydney; Prof. Stuart Rees, CEO of Sydney Peace Foundation;Prof. Wendy Bacon: Academic and Investigative Journalist University of Technology.

This sold-out event featured influential and distinguished Australian human rights advocates from the fields of politics, art, academia, literature and media, as well as outstanding patrons and executives from various refugee and asylum seeker organisations. The event was hosted by the Bridge for Asylum Seekers Foundation and supported by the City of Sydney Council, Amnesty International, Asylum Seekers Centre and Refugee Council of Australia. All proceeds were donated to the Bridge for Asylum Seekers Foundation, and twenty free seats were reserved so that refugees and asylum seekers could attend. The event was promoted in three languages: Farsi, Arabic and English.

Saba Vasefi, Asylum Seekers Centre Ambassador, feminist filmmaker, academic and poet , was the director and mastermind behind the symposium. The evening was launched by Senator Scott Ludlam, Deputy Leader of the Australian Greens, and MCed by Van Badham, writer and Guardian Australia columnist. The Symposium showcased speeches by Prof. Wendy Bacon, academic and head of the Journalism Program at The University of Technology; Phil Glendenning, President of Refugee Council of Australia; Frances Milne, Committee Member of Bridge for Asylum Seekers Foundation and Balmain Uniting Church; Prof. Stuart Rees, Director of Sydney Peace Foundation; and Prof. Sahar Amer, Chair of Department of Arabic Language and Cultures, The University of Sydney. The event also included performances by Sydney Youth Orchestra cellist Minerva Khodabande, poets Hani Abdile and Michelle Cahill, and hip-hop artist Kween G Kibone. Vasefi’s poetic and metaphoric short film Symphony of Strange Waters was also screened.

A highlight of the evening was a panel discussion comprised of Dr. Mehreen Faruqi, Greens Member of the Legislative Council; Violet Roumeliotis, CEO of Settlement Service International; Dr. Graham Thom, Amnesty International National Refugee Coordinator; and The Hon. Linda Burney, Deputy Leader of the NSW Opposition who also conducted the Welcome to Country. As part of the Welcome she said that:

If Bennelong, having seen the destruction of his own peoples and culture by these new arrivals, could extend his hand in friendship, how can we in modern Australia possibly fail to do the same for those who seek refuge today… This acknowledgement [of country] also reminds us that this nation, over 200 years ago, provided a home to the disenfranchised of Europe, a reminder that we have a duty to do all we can for the dispossessed of the world, not only because it is fundamentally our moral responsibility, but because it is built into our national identity.

Senator Ludlam affirmed the strong multiplicity of the event by announcing:

Discussion about refugees in Australia has for too long been silencing the voices of the people most impacted. At other times it is reduced to a cold debate about numbers and statistics… What better way to correct this than an inspiring collection of performances and stories from people who came to Australia seeking a better life?

Vasefi drew inspiration from her own experiences of displacement and emphasised the importance of civil resistance:

I’m constantly advised that dominant hierarchical power structures won’t allow marginalised groups to impact policies. However, many examples from my previous experiences as an advocate prove otherwise. Iranian campaigners against the death penalty did not change the fundamentalist regime in Iran and they could not revoke the death penalty. But surveys prove that in one year about 350 families forgave the convicted instead of taking revenge. This shows that political elites and others in positions of privilege can be challenged and positively influenced by the attitudes of civil society. This is one of the reasons which motivate me to organise cultural and artistic activities as an alternative form of civil resistance.

Badham addressed the economic factors that influence public perception of racism:

What we know in Australia is that racism and xenophobia increase where communities are experiencing economic anxiety. If people are trying to understand why sections of the Australian populace are actively hostile towards refugees and drawn towards radical nationalist movements like Reclaim Australia, consider what constitutes reality for these people: 40% of Australians are now in insecure work, wages are not keeping pace with productivity, inequality is rising, welfare is retracting and the housing bubble is precluding generations of Australians from the economic security of home ownership. In confusing times, people gravitate towards extreme, simplistic and irrational propositions, and racist scape-goating is one of them. So if we are serious about shifting public opinion towards refugees, we must address the context of the hostile opinions, and be prepared to engage the complex, intersectional reality of economic circumstances and political behaviour in order to make change. The demand must always be for economic equality so that social equality can be made possible.

Milne acknowledged the cultural and social depth and diversity of the symposium:

Bridge for Asylum Seekers Foundation is thrilled to be able to host this evening which brings together so many people from diverse backgrounds, including politicians, activists, humanitarians, academics, artists and many others, all of whom have a common interest and focus on the needs and rights of asylum seekers both in Australia and elsewhere, and a passion for working towards redressing the injustices which they suffer from at the present time both in Australia and elsewhere.

One of the panel discussions. From Right to left: Dr. Mehreen Faruqi, Member of NSW Parliament; Hon. Linda Burney,Deputy Leader of the Opposition, Shadow Minister for Aboriginal Affairs,Dr Graham Thom:Amnesty International National Refugee Coordinator,Violet Roumeliotis, CEO Settlement Service International.

One of the panel discussions. From Right to left: Dr. Mehreen Faruqi, Member of NSW Parliament; Hon. Linda Burney,Deputy Leader of the Opposition, Shadow Minister for Aboriginal Affairs,Dr Graham Thom:Amnesty International National Refugee Coordinator,Violet Roumeliotis, CEO Settlement Service International.

Other prominent leaders from various fields also contributed their ideas on these important and relevant subjects. Prof. Bacon highlighted the vulnerable situation of detained women and the importance of speaking up against violence towards them, saying ‘We must not tolerate the appalling emotional and physical abuse that Abyan and other women have experienced on Nauru while under control of the Australian government’. Prof. Rees encourage awareness about the criminalization of seeking asylum by bringing attention to Australia’s preoccupation with military solutions, pointing out that ‘The massive movement of refugees around the world is called a crisis but looks like a permanent problem… Australia’s Operation Sovereign Borders is preoccupied with military solutions which perceive asylum seeking not as a right but as a threat to security’.

It was Dr. Faruqi who brought broader attention toward violence against women in Australia’s detention system, stating

‘Australia must end mandatory detention and the ongoing suffering of women under these inhumane systems. Not only do women bear the brunt of war but when they flee they are locked up and are exposed to mental trauma and sexual abuse in offshore mandatory detention centres. Violence against women is a crime’.

Roumeliotis inspired the audience with the positive story of Michael Ascharsobi, a successful Iranian asylum seeker:

Stories like those of former asylum seeker Michael Ascharsobi, who was held on Christmas Island as a teenager, show how successfully people can integrate and have a positive influence on Australian society. Michael came from Iran and had never used a computer or heard of the internet, but after being released from immigration detention he saved up and pursued education. He now works for Google Australia and is a lecturer at the University of Technology Sydney.

Dr. Thom contextualised these observations by declaring, ‘While celebrating Australia’s commitment to resettle an additional 12,000 Syrian refugees, as a developed country Australia also has the capacity to process those coming here seeking asylum and needs to show leadership in treating those that come here seeking asylum with the same amount of dignity and respect’.

All in all, The Refugee Rights Symposium successfully celebrated differences as well as common interests, highlighted the power of art and literature to unite us, and helped educate the audience on the refugee experience as well as shed light on the plight of women of colour in leadership positions.

 – Diane Busuttil

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 Diane Busuttil is a physical performer who trained as a dancer at the University of Western Sydney, Australia from 1992 to 1994, where she majored in dance on film. She has since danced, choreographed and taught her way all over the world performing and collaborating with a diverse range of artistic groups in the capacity of dancer, acrobat, teacher, choreographer, producer and director.

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Tongues of Flame: Mark Roberts Previews the 2012 Queensland Poetry Festival

One should perhaps suggest to Campbell Newman that he keeps well clear of the Judith Wright Centre of Contemporary Arts between 24th and the 26th August – though I would image the prospect of Mr Newman, or any of his cabinet, venturing anywhere near a Contemporary Arts Centre named after a poet would be remote under any circumstance. I somehow suspect that Premier Newman is not the sort of person that appreciates poetry or poets and that he would feel very uncomfortable surrounded by some of Queensland’s and Australia’s best poets at the 16th Annual Queensland Poetry Festival.

The 2012 festival kicks off on 24 August with the Official Opening at 6pm followed by “the opening night event”, Tongues of Flame featuring ‘national treasure’ Robert Adamson (NSW), African-American jazz poet L.E. Scott (NZ), ‘brilliant interdisciplinarian’ a.rawlings (Canada) and singer-songwriter Holly Throsby (NSW).

The Festival includes two paid workshops: ‘The Art of Reading a Poem’ with Robert Adamson on 24 August and ‘The Poetry of Politics’ with L.E. Scott on 25 August. Other poets appearing at various events over the three days of the festival include Kathryn Lomer, Ray Liversidge, Nathan Curnow, Paul Summers, Jean Kent, Marty Smith, David Stavanger, Steve Smart, L.E. Scott, Michelle Dicinoski, Carmen Leigh Keates, Philip Hammial, Brenda Saunders, Charmaine Papertalk-Green, Misbah Khokhar, Cameron Hindrum, Geoff Lemon, Jill Jones, Nicola Easthope, Robert Adamson and angela rawlings among others.

There are also a number of awards being announced during the festival, including the 2012 Arts Queensland Val Vallis Award for Unpublished Poetry which this year is being judged by Robert Adamson, Sue Abbey and Kent MacCarter, and the 2012 Thomas Shapcott Poetry Prize for an unpublished manuscript with 2012 judges Thomas Shapcott, Felicity Plunkett, Justin Clemens.

Interestingly for a poetry festival there is also a ‘film festival/challenge’ with the Queensland Poetry Festival Filmmakers Challenge exploring “the arena where poetic expression and audio-visual technology collide”. Filmmakers, video artists, poets, and all multimedia practitioners were asked to create a short work which could include a record of poetry performance, a video text manipulation or their own interpretation of the challenge. The winner, along with a selection of shortlisted entries, will be screened at the festival.

In addition to the Brisbane program the festival for the first time while be going bush….or at least to Bundaberg, Gladstone, and Rockhampton to host workshops, readings, and performances as part of the inaugural QPF Regional Roadshow.

Of particular interest this year is a collaboration the Festival and Cordite Poetry Review which has seen the on-line publication of ‘Gibberbird: Of Birds and Other Strings’.(Special Issue 39.1). Gibberbird consists of a ‘source’ poem, written by Canadian poet (and 2012 Arts Queensland Poet in Residence) angela rawlings, together with ten poems responding to the source poem by a number of Queensland poets. As the title suggests the project is centred around birds and, as Cordite suggests in their introduction, the source poem represents “a foreigner’s first tenuous steps into Queensland’s ornithological lexicon via unorthodox categorization and linguistic sorting methods’. While Rochford Street Review will attempt a more in-depth review of this intriguing poetic collaboration in the new future, an initial reading suggests that this is a work that will repay multiple careful readings.

All in all the 2012 Queensland Poetry Festival promises to be an exciting few days for anyone who finds themselves north of the Treed River between the 24 and 26 August. Above everything else the Festival takes occurs at a critical time for artists and poets in Queensland after the new LNP Government declared their hand earlier this year by scrapping the Premier’s Literary Awards and then cutting a swath through government funding of arts organizations. Lets hoped that the QPF have their funding locked in for the next few years!

– Mark Roberts

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Mark Roberts is a Sydney based writer and critic. He currently edits Rochford Street Review.

Queensland Poetry Festival http://www.queenslandpoetryfestival.com/

‘Gibberbird: Of Birds and Other Strings’ http://cordite.org.au/content/poetry/gibberbird/

Adam Aitken on The Political Imagination: Contemporary Postcolonial and Diasporic Poetries Conference

The Political Imagination: Contemporary Postcolonial and Diasporic Poetries Conference was held at Deakin University (Deakin Prime in Melbourne) on 12th and 13th of April 2012. Adam Aitken, who presented on “(un)becoming hybridity in my poetry”, looks back on the highlights of the conference. This account was first published on Adam’s blog http://adamaitken.blogspot.com.au/

Adam Atiken. Photo by Adrian Wiggins (www.pureandapplies.net/adrian)

The Political Imagination: Contemporary Postcolonial and Diasporic Poetries Conference was one of the best conferences I’ve been to. The conversations were lively, and there was a refreshing openness and willingness to understand the institutional limits of our thinking. The postmodern did its dance with the postcolonial in a good atmosphere that seemed free of the defensiveness and self-censoring that often occurs at such conferences.

One of the major debates has been the reasons for the demise of postcolonial study of poetry throughout the world, and the subsequent shrinkage of voices from the margins. But no-one came out and ‘blamed’ the postmodernists, no one blamed “po-co” theory for being out-of-date, but good critiques were mounted on the limits of these paradigms, and poetry as poesis or “making” (dare I say in Shelleyan terms the “Spirit” of Poetry) seemed to survive the machine that theorises it. (Or at least I didn’t feel overwhelmed by theory, but affirmed by the workability of bringing together of theory and poetry performance. It certainly allowed me a freedom to speak in ways I have been craving for years.)

To kick things off Peter Minter reprised his critique of the recent Gray/Lehmann battleship anthology Australian Poetry Since 1788. Minter argues that the project comes across as a “neo-colonial vanity project” that fails to achieve its claimed objective representation of Indigenous, ethnic and postmodern Australian poets; its fails to disclose its subjectivity, a point made already by David McCoohey in an early review of the book. Minter called the framing of the collection (by its introduction and its faux-Aboriginal emu-design cover pages) an example of nationalistic kitsch. One view is that whatever the quality of the selection, the canonising function of the national anthology represents a kind of management document for the archiving of a certain ideal Imaginary, one whose border are already belated and possibly out of date, an argument both Bridie McCarthy (“Border Protection: Neo-Colonialism and the Canon”) and Lucy Van (“‘Why Waste Lines on Achille?’: Tracing the Critical Discourse on Postcolonial Poetry”) touched on in their respective papers.

Minter’s figure of the archipelagic map of Australia swims for me, so rather than one island made of “empty space”, we are a constellation of geo-psychic centres scattered between the equator and semi-arctic latitudes. The desire is to connect these centres in a diplomatic way, through a poetics of relation and movement. Minter’s eco-poetic is complex and continually re-imagined and changing, and so far no national cultural “programme” or manifesto is offered to replace current Federal-State structures for the arts. In a sense, Minter’s Glissantian vision is antithetic to centralist bureaucratisation, is self-engendering and anarchic. (Should the participants in the debate over the direction of the ‘peak-body’ Australian Poetry take note here?)

The Eurocentrism of the academies was hardly apparent here (though the venue itself was pure High Modernist Corporate and rather neutral in terms of cultural markers of identity, but everything worked; and some of the conference food was “Asian”), and rather than merely accept any kind of approach as the “right one” for all of us, there was a thoughtful suspension (or muting perhaps) of the manifesto-impulse. That said, a certain participant confided in me that she thought John Hawke’s launch of VLAK, a journal produced by a coalition of Australian internationalists and expatriate Louis Armand, had a whiff of “cultural cringe”. Looking through the volume afterwards, I was impressed by how many Australian-based poets had a presence here, and rather than read this as “Australians going Euro-avant-garde”, I read a concomitant vector in which Australian marginalism and our own awkward multiculturalism and location hybridises the master signifier of “Europe” itself. VLAK is European, but the term already masks its own contradictions and the seeds of its own deconstruction and impossibility. VLAK comes out of Prague, not Paris or London or Berlin, and arguably it speaks of some kind of Eastern European marginality vis-à-vis the West, a marginality that invites collaboration with our own.

For everyone the challenge was to talk about Australian poetry as something that is still growing and negotiating its own relations to it own marginality, and to speak with/back to the grand body of European postmodern theory, to postcolonial traditions (the subaltern studies group, Latin American traditions, hybridity theorists and others), and to Asian-American literary studies, a kind of big sibling of a nascent Asian-Australian formation represented here by Tim Yu a leading theorist and Asian-American poet in his own right. As Michael Farrell’s quip about “marsupial consciousness” suggests, the organism is still semi-foetal and in need of many mothers’ protection, and it would be premature to champion any kind of eco-poetics or hybrid consciousness as the future terrain of our reading.

Ali Alizadeh offered a post-Marxist critique of how we over-determine identity in migrant and indigenous poetries, and, in a controversial reading of an Ali Cobby Eckermann poem, suggested that identity is virtual and operates as a kind of fantasy that obscures the material and eco-political conditions that oppressed subjects deal with. Arguing against that I suggested a way of reading identity in Butlerian terms, which sees identity as performative and constituted in the interpellative moment. We become who we are – gendered and raced – through self-identity, but also because we respond to the labels others put upon us, and the effects of language and of naming are material; identity is symbolic as language itself is a system of symbols with communicative and ideological effects; identity is not merely symbolic or virtual or to be relegated under macro-economic superstructures and ideologies, and there is a complex pre-ideological moment before identity is affixed, through language, on the body. But I argue that in the face of essentialistic racism we can hybridise those labels deliberately and disobediently through speech acts.

Maintaining a hold on Australian studies, the enthusiastic, warm, and venerable Lyn McCredden gave a brilliantly strong reading of the tropic traces of “Australian nation” (its status as a centring Imaginary) in poems by John Forbes and Ken Bolton. Opening up her own position to debate, she invited different readings. I suggested that she extend the study of nation in Forbes and Bolton to include their poems about other nations, European ones at that. McCredden’s main point is that however we try to break away from controlling discourses of nation in the popular imaginary (e.g. ANZAC, the Beach, Tom Roberts painting of shearers etc.) Nation and Nationalism Aussie style won’t go away and should not be ignored. Indeed poets need to address such a demotic in order to remain relevant as critics of the current neo-colonial regress in popular Australian culture.

Other notable papers included Michael Farrell’s reading of on the Neo-baroque in Michael Dransfield. Michelle Cahill gave a brilliant paper on the subaltern and the necessity, perhaps, to step outside the institutions that continually silence the subaltern. There was a good discussion of what the margin-centre looks like now in the Australian poetry scene, and how an Asian-Australian literary formation might address margin-centre formations. It was my own sense that good will exists towards the project of opening up the space with an Asian-Australian anthology, and many are looking forward to have more discussion of form and language in AA poetries.Tim Yu’s paper re-enforced a perception that AA poetry was invisible, and that in his own research he had begun to see that there was no easy parity between the two versions of AA – Asian-Australian was NOT an obvious kindred model of Asian-American literature.

Other great papers and performances included Danijela Kambaskovic-Sawers, “A migrant poet and the fine art of escapism”and Ania Walwicz reading “‘cut-tongue’-fragmentation, collage and defence”. Danijela’s story of how she overcame her own silence, and learned to speak of post-war trauma, was extremely moving and instructive. Her own sense of her own migrancy in Australia reminded everyone that being a migrant poet is subject to all sorts of limitations and expectations and impositions from the audience. Her own work, however, is both resistant and critical of what “migrant poet” means in the first place, and her life and work which is often surreal, playful, confounding, often transcends the limits of the framework imposed by managed multiculturalism.

A fitting closure was Ann Vickery’s wonderful paper on Juliana Spahr’s book Fuck You Aloha I Love You, a book very much about how a white woman negotiates cultural chauvinism in Hawai’i, and how the white female critic can respond to anti-white racism. In the face of hateful vilification, what responses are open to scholars to keep the debates and conversations open? How do empowered white scholars deconstruct their own cosmopolitan readings of the non-white, the non-cosmopolitan and the colonised on the margins? The ideas were familiar, but what moved everyone was Ann’s reading of Spahr’s poem and Ann’s “confession” that she felt guilty that she had neglected race in much of her scholarship. Awful silences occur in classrooms when race-talk becomes a divisive machine, a taboo subject, so if the military atmosphere is to be decommissioned, poetry like Spahr’s should be heard and conferences like this one need to continue.

Finally it was a great loss not to have heard Sam Wagan Watson, who was ill. I wanted very much to discuss how he saw hybridity theory and its limits, the subject of my paper. In defiance of much hybridity-theory’s need to “smash essentialisms” I am sure he would have given an impassioned description and defence of the essential at the heart of his identity and how his poetry configures nation, land, imagination, desire, and identity. A conversation for another time.

Adam Aitken

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Adam Aitken latest collection of poetry is the chapbook Tonto’s Revenge (Tinfish Press). He has just returned from three seasons in France and now lives in Sydney.

Poetry Conferences each side of the Tasman: Short Takes on Long Poems and The Political Imagination

Over the next few weeks there are two poetry conferences you shouldn’t miss…unless like me you are in Sydney and the conferences are being held at the University of Auckland and the Melbourne campus of Deakin University.

First to Auckland…next week, on the 29th and 30th March I will be missing Short Takes on Long Poems: A Trans Tasman Symposium at the University of Auckland hosted by the New Zealand Electronic Poetry Centre (nzepc). This  is the sixth symposium nzepc has organised (the others being Auckland 2004, Christchurch 2005, Bluff 2006, Auckland 2010 and Sydney 2010).

According to the conference organisers Short Takes on Long Poems will focus on “short long poems and long short poems; in epic and seriality; in the book-length or site-specific poem”. They continue:  “we like the challenge of folding the universe into a matchbox. We like matchboxes made of dark matter. We want to be surprised, diverted and delighted by what we can bring to points of exchange, and we want to bring those points – before, during, and/or after our symposium – into digital renditions”.

Some of the highlights, from an Australian perspective include John Tranter talking about his poem ‘The Anaglyph,’ collected in Starlight: 150 Poems (UQP 2010). Also on the program is Pam Brown who will presenting Kevin Davies’ long poem ‘Duckwalking a Perimeter’, the penultimate section of his book  The Golden Age of Paraphernalia,  Philip Mead on John Kinsella’s 400-page Divine Comedy: journeys through a regional geography, Hazel Smith on ‘The Film of Sound’ – the contemporary long poem exists not only on the page,” but has also evolved off the page through performance, intermedia work and new media writing”,  Sam Moginie and Andy Carruthers on Jas H. Duke’s Destiny Wood and Australian Experimentalism, Toby Fitch reading from his work ‘Rawshock’ a long poem in 10 parts, Martin Harrison on the question of endings, Jill Jones  on the intersection of the long poem  with “other art practices, other modalities”, Ann Vickery on on a series of collaborative longish poems written and performed by Australian poets Pam Brown, Carol Christie, Jane McKemmish and Amanda Stewart,  Ella O’Keefe on John Anderson’s book-length poem the forest set out like the night and Jessica Wilkinson on her long poetic-biography of early cinema actress Marion Davies,  And this is before we start looking at the New Zealand and other international presenters.

Even before I will be able to start to get over my disappointment at missing Short Takes on Long Poems, I’m going to have to confront even more disappointment when I  wont be able to make the trip to Melbourne for  The Political Imagination: Contemporary Postcolonial and Diasporic Poetries  at Deakin University (Deakin Prime in Melbourne) on 12th and 13th of April 2012.

According to the organisers ‘The Political Imagination’ will bring “together some of Australia’s leading poets and poetry scholars to investigate the state of contemporary postcolonial and diasporic poetries. It aims to explore the contentious, at times controversial, issues surrounding the production and discussion of poetry and poetics in work that engages with the politics of the postcolonial, the transnational and the diasporic. Among the topics addressed by symposium participants will be opposition, identity, subversion and hybridity”.

One of the potential highlights, as we approach the 39th anniversary of Michael Dransfield’s death later in April, is Michael Farrell’s presentation on ‘‘a needle spelling XANADU’: Reading Michael Dransfield’s ‘Courland Penders’ through the Neobaroque’. To quote from the abstract to this paper:

The neobaroque, also known as the colonial or counter-baroque is posed, in Latin American literature, as a counter-conquest mode. In this paper I attempt to reframe what has been seen as Dransfield’s romantic myth of Courland Penders as a neobaroque space: one that extends, critiques and parodies the colonial. As Alejo Carpentier writes in the Latin American context, ‘Let us not fear the Baroque, our art, born from trees, timber, altarpieces, and altars, from decadent carvings and calligraphic portraits, and even from late neoclassicisms’. Is this art foreign to Australia, or does it exist in imaginary inventions (or ‘folds’) like Courland Penders?

Two more quotes are relevant: Cuban critic Severo Sarduy writes that ‘Baroque space is superabundant and wasteful. In contrast to language that is communicative, economic, austere, and reduced to function as a vehicle for information, Baroque language delights in surplus, in excess, and in the partial loss of its object’; Irlemar Chiampi describes the neobaroque as ‘the aesthetic of countermodernity’. The former rejects the economic model of settlement; the latter affirms the former’s style. The specific poems I consider in seeking to read Dransfield as a producer of Australian baroque are ‘Portrait of the artist as an old man’, ‘Courland Penders: going home’, ‘Tapestry at Courland Penders’, and ‘Birthday ballad, Courland Penders’, all from Dransfield’s first book, Streets of the Long Voyage.

The other presentations look just as interesting:

  • Adam Aitken  “(un)becoming hybridity in my poetry”
  • Ali Alizadeh on “Metapolitics vs. identity politics: (re-)radicalising the postcolonial”,
  • Michelle Cahill on “The Poetics of Subalternity”
  • Danijela Kambaskovic-Sawers on “A migrant poet and the fine art of escapism”
  • Bridie McCarthy on” Border Protection: Neo-Colonialism and the Canon”
  • Lyn McCredden on “Poetry and the Nation”
  • Peter Minter on ‘Toward a Decolonised Australian Poetry’
  • Lucy Van on “‘Why Waste Lines on Achille?’: Tracing the Critical Discourse on Postcolonial Poetry
  • Ann Vickery on “Postcolonial Lovetypes: On Doing and Not Doing Her Kind in the Poetry of Juliana Spahr and Astrid Lorange”
  • Ania Walwicz on “cut tongue”-fragmentation, collage and defence”
  • Sam Wagan Watson on “Fight Club”

If, unlike me you are able to make the trip to Auckland or Melbourne, or if you are already in those cities, then it would be almost unforgivable not to make an effort to attend these conferences. For further information check out the relevant websites and book your tickets!

Short Takes on Long Poems: A Trans Tasman Symposium

The Political Imagination: Contemporary Postcolonial and Diasporic Poetries