• Kumuwuki Day 3

  • Kumuwuki Day 2

  • Kumuwuki Day 1

    We arrived in Goolwa last night. Jude, Krista, Susie, Franca, Ben and Joe gathered for a welcome dinner at Jude and Krista's beach cottage. So nice to see everyone at last and yummy curry made by Jude!

    Today we had our first production meeting at 9am. Joe is on top of the schedule and Ben, Susie, Franca, Jude and Krista and ready to go with their projects.

    Coriolis Central bikes are ready and stored in but we can't find Ollie to pick them up! Oh well, what does one expect on a Saturday. So, we relish in a little bit more of the holiday side of the "working holiday"

    Jude and Krista visited the Old Police Station where Coriolis Central will be based and worked out placement of furniture and bikes. We also worked through the folow of traffic, where to take participants first photo with the bike and how to get ride of the septic tank smell that is seeping through the door. List of prospective solutions: essential oil, insense, flowers, perfume or we got it, cintrenella mosquitto coil. Tick!

    Paul whisked in and out for a quick visit to see his Billboards #1 project all up and causing havock around town. Apparently the signs are noisy and disturb some peoples quiet life.

  • The Coriolis Effect and Cultural Leadership

    The Coriolis Effect is supported through the Theatre Board of the Australia Council’s Cultural Leadership Program.

    In general Cultural Leadership is not something we think about. It’s in the main something we do and others decide that it has particular qualities that they call Cultural Leadership. So we thought it useful to provide you with some perspectives on what those qualities might be:

    A Definition Of Cultural Leadership (Australia Council)

    Cultural Leadership - inspiring, building, sustaining

    A cultural leader is the driving force behind the creation and pursuit of a set of artistic, organisational or sector goals. Developing cultural leadership skills is about building an individual or organisations capacity to:

    Effectively lead colleagues and/or sector areas through extended periods of experimentation and growth

    To think and work strategically toward long-term goals

    To manage, motivate and inspire colleagues

    To develop fortitude and problem-solving skills in the face of adversity

    To be financially resourceful and responsible

    To understand, analyse and respond to the complexities of the Australian theatre scene and its relationship with broader communities.

    Leadership competencies for the 21st century as proposed by Leicester, Graham, ‘Real Cultural Leadership: Leading the culture in a time of cultural crisis’ in A Cultural Leadership Reader (eds. Sue Kay and Katie Venner with Susanne Burns and Mary Schwarz), available at www.culturalleadership.org.uk, accessed May 2011, pg 21.

    orchestrating complex systems, leading without power, taking risks, tolerating ambiguity...

    Leadership according to Frank Furedi

    Furedi's family emigrated from Hungary to Canada after the failed 1956 uprising. He has lived in Britain since 1969, and completed his M.A. (on African politics) and his Ph.D. (on the Mau Mau Uprising in Kenya[1]) at the School of Oriental and African Studies, London University.

    In the 1970s, using the pseudonym Frank Richards, Furedi served as the co-founder and chairman of the Revolutionary Communist Party (RCP). The RCP was distinguished by its commitment to theoretical elaboration and hostility to state intervention in social life.

    Furedi maintains that society and universities are undergoing a politically driven 'dumbing down' process which is manifest in society's growing inability to understand and assess the meaning of risk. Furedi frequently appears in the media, expressing his view that Western societies have become obsessed with risk. He has also written several books on the subject of risk, including Paranoid Parenting, Therapy Culture, and Culture of Fear.

  • Getting started

    In December 2011, Steve, Jude, Krista and Jess had their first gathering to identify, through an expression of interest, the participating artists for the Coriolis Effect. During an intense and stimulating weekend we also indentified what each of us wanted to bring to and take away from the Coriolis Effect experience. Thes were our findings..


    Organisation support

    Planning of face to faces and online communications

    Investigations and tasks for the discussions

    Providing artists with engagement opportunities

    Ongoing and final evaluation

    Open mind for discussion and investigation

    Collaborative practice and enabling of risk taking in arts practice


    Understanding of methods of civic engagement

    Propositions of projects for the future




    Long experience in the creation of contemporary performance

    Long experience of creating models of public and audience engagement in regional contexts

    Developing and touring performance for major international festivals and institutions

    Intercultural competencies

    Provoking questioning and clarity of purpose

    Challenging of assumptions and exploring alternatives

    Creating structures that enable diversity of practice to take place

    Enabling change where people want to take advantage of that

    Rigorous thinking and research followed by reflection and analysis

    Listening to people and framing ideas for works - naming

    Experience in dramaturgy for contemporary performance

    Strong thirst to create something unexpected for regional Australia

    Connections to Punctum artists


    Rigorous thinking and research

    Bust open the box for methods of civic engagement

    Network of peers

    To be provoked by others

    Evidence to provide the basis for long-term relationships and future projects with the group

    Shift in own practice

    A new model for regional practice and engagement


    Intercultural competency

    Pre-empting problems and problem solving

    Listening and feedback

    Organisational skills

    Experienced understanding of artists and cultural organisations regional and metro places


    Process based arts practice as the creative impulse

    Dramaturgical models

    Research based practice and resourcing ideas

    Artistic risk

    Time for reflection and action

    Live arts practice and theory


    Understanding of cultural complexities in contemporary arts in regional areas

    Testing conventions of contemporary art form practice in regional and metro public spaces

    Experience of negotiating working models with non-arts organisation, local government and service providers

    Driving the vision and the doing as a sole practitioner in order to bring about collaborative works

    Analysis of community and civic response to social change in a regional context

    Experience and trust in process based practice


    Deeper understanding of models of audience engagement

    Dramaturgical models

    Research based practice and resourcing ideas

    Live arts practice and theory

    Strategies for overcoming cultural complexities in contemporary arts in regional areas


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