Next Wave
Festival
15 March 2 April
2006
Reviewed by Aparna Sharma
The Film Academy
University of Glamorgan
aparna31S@netscape.net
Third world and feminist scholarship have
been key in articulating discontent with
the essentialising, totalizing, and tokenistic
gesture that multiculturalism as a wider
public discourse in Europe and America
has turned to be. In the Asia-Pacific
range, one gathers the sense of a circuitous
lose conglomerate of practitioners, theorists,
and analysts for whom this critique has
been imperative. However, curiously within
the institutional frameworks there is
a polaritya rather colonial,
on occasions, patronizing stance towards
ethnic subjectivities, be they tribal
communities in the remote hinterlands
of India endangered with displacement
due to rampant "development"
or the stream of migrants, particularly
from East and South-East Asia to Australia.
Responding to this absent-mindedly benevolent
and inadvertently marginalizing drift,
the Next Wave Festival of youth art in
Melbourne that coincided with the Commonwealth
Games 2006 elicited participation of young
artists from the Commonwealth and across
continents providing a worthy platform
where besides critique issues surrounding
form and its unsettled links with cultural
definition received focus.
Provoked by the concurrent Commonwealth
Games, the theme of this biennale festival,
which has now been running for over 20
years, was "Empire Games:" examining
empires of all sortsfamilial,
national, ideological, neo-colonialand
how they continue amongst us. Mindfully
curated, the festival was not gathering
a plethora of oppositional voices alone.
The question of form and aesthetics was
crucial. This year, the festival deliberately
sought to engage with how Melbournes
landscape got altered, dressed for display
to the Commonwealth. Contrasting in scale
with the exaggerated magnitude of all
aspects linked to the games, itself a
pronouncement of how Australia debates
and grapples with its own specifics and
"national" identity, Next Wave
literally superimposed a mapping of hundreds
of minute public art installations across
Melbourne.
Innocuous in location yet audaciously
choreographed, each installation drew
upon scale. As one navigated the dim and
dingy back and by-lanes of Melbournes
city centre, its river-fronts or the containers
at its docks, a disparity surfaced between
occupations and expressions of artists
from within the Anglo-American-Japanese
triad and of those from outside. A clearly
anti-establishment stance and on some
occasions an obvious spiritual preoccupation
marked much expression from the former.
While artists from the Pacific islands,
central and east Asia, and Africa submitted
more complex formulations that are anthropologically
provocative as they at once evoke and
muddy multiple positionalities. The imperative
for some sort of spiritual utterance,
while evident, appeared so deliberately
obscured and enmeshed with more urgent
issues surrounding postcolonial identity.
Further, a variegated sense of temporality
both literally in quantifiable terms as
well as an experience or sensation, surfaced.
And while there were some platforms for
exchange between artists and audience,
the festival would have hugely benefited
by articulating some of these instances
of disjuncture and dialogue more rigorously.
In a context such as the games, Next Waves
play with scale becomes a very aggressive
and stimulating strategy for instituting
reflection upon the issues that the festival
aligns itself with, namely questions of
marginality on any account. The contrast
between its visibility vis à
vis the wider milieu becomes a formal
take by which the festival reinforces
its critical stance towards established
and institutionalised discourses. However,
it is this aspect itself that in a sense
tends to shroud the intervention that
Next Wave can claim and inject. Next Wave
is not purely a fringe festival that celebrates
under-economies or under-cultures. Neither
is it solely antithetical towards the
mainstream. This was so evident in the
works selected for display. A strain emerged
comprising works that set up the possibility
of conversation between cultural impetuses.
The works selected from Asia and Africa
were integral to some of the formal interrogations
at the festival. They were not works that
were militantly nativist exalting "timeless"
aesthetic traditions that lend themselves
for amalgamation within the "nationalist"
context. Neither were there any works
whose ahistoricism and minimalism play
with scale accounts for their liberal
and "exotic" appeal within the
international circuit that remains nevertheless
devoid of criticism. Next Wave has defined
a territory by focussing on artists who
can reflect critically yet converse cross-culturally.
And in this, form is not merely formulation,
rather a mechanism that embodies the dynamics
and dialogues underpinning the work. It
would be useful for future events to explore
the scope for wider discussion not only
among artists and audience but also by
evoking the vital nexus of practitioners,
critics, and audience. For this the festival
might need to resuscitate or at least
complicate its image in the popular imaginary
as being more than merely marginal.