Swarm

Survivor: Gunyah

Amala Groom

Wiradjuri artist Amala Groom has worked with the local Aboriginal and Torres Strait Islander community to remember and celebrate traditional practices of culture, through sharing and learning the process of building a gunyah, a shelter constructed from branches and foliage.

Mai Kana Lovo

Salote Tawale

Translated, Come Eat Lovo, this work discovers the performance of communal acts, the sharing of knowledge and the celebration of Fijian culture. A lovo is an earth oven, where food, surrounded by banana leaves and hugged by the earth, is slow cooked to delicious. From preparation to consumption, a lovo is a collective operation and Tawale has invited members of the Campbelltown community to share their knowledge of this Fijian celebratory tradition. Come eat Lovo with us!

The Queen Street Run

Matthew Prest

Matthew Prest has worked with Queen Street business owners to stage a fun run through an obstacle course of arcades, alleyways, fire escapes and shopfronts. Following an orienteering-style format of map navigation and checkpoints, the race takes runners through the unusual labyrinthine architecture of Queen Street to cut new pathways and change the way we engage physically with this type of commercial space.

Legacy (Imagining a Future)

Denis Beaubois

Denis Beaubois will bury a time capsule and commemorate it’s burial with a clapping rhyme designed to be played across generations. The contents of this time capsule have been developed by local residents of Campbelltown, who are the custodians, until its planned retrieval 10,000 years into the future. The extended retrieval date provides both logistical and imaginative challenges that play out well past the lifetime of participants. In doing so the project encourages a vision that falls beyond ones own lifetime and span across 400 generations

Slay Your Oppressor(s)

Bhenji Ra

Performers:
Koco Carey, David Chor, Bhenji Ra
Costume design: Willow Darling

Slay your oppressor(s) is ongoing on project that looks at the safety and visibility of the queer body within the suburban and rural landscape. In this reiteration Bhenji is responding to conversations between her and her local collaborators surrounding their experiences with violence, negotiations of survival and their own visibility as Western-Sydney based queers. As a collective they have developed a martial art form that speaks to their respective cultural backgrounds as well as their own embodieded histories of dance such as vogue-femme.