Spitzer Art Center

Circus Training Instead Of School Sports

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Imagine if social policy-makers were aware of the benefits that circus have for their communities. This was the provocative message that was pitched to Circus Oz trainers. Performers, and circus producers who met at the Melba Spiegeltent in Collingwood last weekend.

The Circus Futures Forum was jointly sponsored by Circus Oz. The Australian Circus and Physical Theatre Association and the Melbourne Festival.

Pride in the Ninja Circus

The respected NPY Women’s Council oversees the local Ninja Circus troupe in Mutitjulu at Uluru. The Ninja Circus has been led by Ludo Dumas a performer and youth worker. Who addressed the Futures Forum last Saturday. They are credited with helping to end the drug abuse and petrol sniffing that have plagued the community’s youth.

The performance of the troupe in front of an audience of 85,000 people at the AFL Dreamtime Round at MCG. In May 2013 was a source for pride for the remote Indigenous community as well as its youth.

Dumas, who also teaches skills to the Nyangatjatjara College in Nyangatjara, said that training requires practice, repetition, focus, and focus. He shared with me that the college staff noticed a marked improvement in children’s attention spans in class after he interviewed them.

Before the beginning of training, students had a attention span of only 10 minutes. Students can now focus for as long as two hours in English lessons and one-and-a half hours in math lessons.

Staff at the college credit the fun and focused training in juggling, acrobatics tumbling with improved self-esteem and respect for each other.

The young performers have also learned how to interact with strangers and socialize with them by performing in community events and arts festivals throughout the Central Desert. Dumas believes this skill will be a positive asset to their future.

Social Circus is at work with barefoot jugglers, acrobatic tumblers and others in the red sand hills near Uluru’s base. It’s as close as you can get to the impressive collection of international and Australian circus companies that will be appearing at this year’s Melbourne Festival.

The social in the world

Social circus is an interventionist approach to social problems that combines the sharing and learning skills with a collaborative approach to them. This term refers to the co-opting skills for social change.

Social began in many locations around the world in the 1990s. The first in Melbourne, where the Women’s Circus found. They encourage self-esteem and social skills acquisition, as well as occupational integration.

Since 1995, Cirque du Monde, an international organisation, has been creating and nurturing Social programs for disadvantaged communities in South America and Africa.

These community-base activities are the result of a repurposing arts that is not use for commercial entertainment. In partnership with Flipside circus, the Queensland Government sponsored initiative Unthink the Impossible tested the effectiveness of skills therapy for disabled children.

Since 1995, Melbourne’s Performing Older Women’s Circus provides performance opportunities and skill development for over-40s women.

Every year, thousands learn apparatus skills through youth and social programs. That are offer by over 60 organizations across Australia. From Broome’s remote Sandfly, which runs outreach programs for Indigenous communities, to the longest-running youth. The Flying Fruit Flies of Albury-Wodonga, where the Flying Fruit Flies is the longest-running youth.

Ban On Toxic Mercury Looms In Sugar Cane Farm

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Federal authorities announced this month that Australia would soon ban mercury containing pesticides. Despite overwhelming evidence for over 60 years that mercury-containing pesticides in agriculture are dangerous, we are the last country in the world to ban them.

Mercury, even at low levels, is a poisonous element that can cause damage to the environment and human health. Mercury exposure in humans can cause kidney damage, neurodegenerative impairment, and delayed cognitive development in children.

The ban will stop approximately 5,280 kilograms each year of from entering the Australian environment. Australia has yet to ratify an International Treaty to Reduce Mercury Emissions from Other Sources, such as the Dental Industry and Coal-Fired Power Stations. This is our next challenge.

Mercury Disaster

Mercury was a popular pesticide for agriculture in the 1900s. Numerous poisonings followed. These include the 1971-72 Iraq grain disaster, in which grain seed with was import from Mexico. Although the seed not intend for human consumption but use by rural communities to make bread, 459 people were kill.

Most countries have since banned the use and production of mercury-based pesticides in crops. They were ban in Australia for most purposes, including turf farming, in 1995.

Shirtan, a fungicide containing mercury, was exempt by authorities despite this. It was restrict to sugarcane farming in Queensland and New South Wales, Western Australia, and the Northern Territory.

According to the sugarcane industry, Shirtan is use by about 80% of sugarcane growers to treat pineapple sett rot.

The approval of mercury-containing active ingredient in Shirtan’s methoxyethylmercuric chlorineide was revoke by the Australian Pesticides and Veterinary Medicines Authority this month. Alpha Chemicals, the manufacturer of the ingredient, request that the decision made.

Last week, Shirtan’s registration was cancel. It cannot be manufacture in Australia. However, existing supplies can still be sold to sugarcane farmers and use for the next year, until it is completely ban.

Nature And Workers At Risk

The environment has been expose to approximately 50,000 kilograms over the last 25 years due to Australia’s continued use Shirtan. It not known how this affects river and reef ecosystems.

It is well-known that mercury can cause cancer even in very low levels. Research require to determine its ecological effects.

Sugar cane workers are also at risk from mercury-based pesticides. The most at risk are those who don’t know how to handle toxic substances safely and have not been properly supervise. This risk is exacerbate when itinerant workers are use, especially those who speak a language other than English.

In the heat and humidity of Northern Australia, workers might have taken off protective gloves to prevent sweating. Research still need to establish the health implications of these practices.

Mercury Australia is a multidisciplinary network of researchers form to address environmental, health, and other issues related to mercury use.

Australia Has Yet To Ratify Mercury

The Minamata Convention on Mercury, a global treaty that controls mercury use and its release into the environment, is called the Minamata Convention on. Australia joined the convention in 2013, but has yet to ratify.

Australia is legally not bound by its obligations until the treaty has been ratified. This puts us in conflict with over 100 other countries, many of which are developed-nation counterparts. The table below shows Australia’s status as an outlier in this area:

Australia’s biggest source of emissions was from the use of pesticides containing. However, Australia would need to ratify the convention in order to regulate other sources of emission, such as dental amalgam, and coal-fired power stations. For example, the three active power plants in Latrobe Valley emit around 1,200 kilograms each year.

Desert River Sea Is A Vibrant Compelling Tour

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Since the beginning of the century desert, the curator has been the decisive factor in what museums and galleries show. This has helped to reassure the public about the importance of what they see. Although there are other audience and commercial drivers, curators have been central to curatorial decision-making.

The Art Gallery of Western Australia’s curatorial team embarked upon an epic quest for art in the Kimberley region of the state’s north-west. They abandoned the idea of one author and instead created a new model of collaboration and exchange. The Desert River Sea project was shape by artists and art centers in the Kimberley.

It is a region with over 200 communities and 30 languages that has a history of cultural engagement for more than 50,000 years. It has been a major hub for contemporary art since the 1980s.

Centres such as the Fitzroy Crossing Mangkaja Arts Resource Agency, which opened in 1981, the Broome Aboriginal Arts & Crafts Centre and the East Kimberley Waringarri Aboriginal Arts Centre opened in 1985. This created a global audience for the region’s arts.

Hosted And Promoted Desert Artists

These centres have hosted and promoted artists like Rover Thomas, Paddy Bedford and Janangoo Butcher Cherel. Many of these artists have been recognize nationally and internationally as art stars.

What has the Desert River Sea Project achieved? How does it compare to other Aboriginal art survey exhibitions that have been held in galleries across Australia, North America and Europe?

After six years of travel and conversations, Emelia Galatis and Carly Lane have managed a huge project that culminated in eight major commissions

Some communities used commissioning funds for reviving ceremonies and teaching younger members how to “paint up” rituals. Garry Sibosado and Darrell Sibosado, both Lombadina, made a beautiful Rainbow Serpent (Aalingoon), from incised and carved pearl shell.

The Kira Kiro Art Centre, Kalumburu, was devoted to showcasing the work of Betty Bundamurra (late Mrs. Taylor). The two elders documented their country with a colorful arsenal of vibrant dots and brush marks in an ochre-colored palette.

Compelling And Lively Exhibition Desert

A compelling and lively exhibition is on display as part of Perth Festival. It marks the end of celebration for what the 40 artists have achieved within these parameters. It’s a condensed tour of the vast northwest landscape, literally starting at the sea and moving through the rivers to the desert.

Each commission is given its own space in the gallery. Many enchanting connections can made through multiple lines of vision, and many surprising juxtapositions can found.

It is a thrilling journey that captures the variety of ways of recording life in the Kimberley. From Eva Nargoodah’s bush clothing made from Dingo Flour bags to Mrs. Taylor’s array of striking dots and shapes evoking fruitful abundance, and on to Mervyn Street’s exceptional carved and painted cowhids, it is exhilarating.

Street meticulously shaves the hides of bulls and heifers, then paints them to represent the harmony between people and places.

Different Places And These Memories

He says, I have been to a lot of different places and these memories are all inside my head. I use art as a way to tell my story. I must keep it in my head and pass it on to the next generation.

Many of these communities created films-based works that describe the landscape and document important cultural protocols. These videos are powerful documents of empowerment. They speak with great clarity about the deep connection to their country and the importance of cultural practices in helping communities regain control over their land.

Bidyadanga’s Daniel Walbidi has created an artwork depicting Wirnpa the creation being. It is a reinterpretation of the work that he did on the salt lake shoreline, which was gradually being swallow by the advancing water. On the back wall is the large-scale video work that documents this process. It completes the loop linking his country and the city.