katelarsenkeys

Dear arts organisations

Amongst everything else, the last several months have been a crash course for boards, leaders and organisations in risk and reputation management, crisis communications and duty of care from the pointy intersection of arts and human rights advocacy.

Inspired by my recent vlog series on why boards need to talk about Palestine (but applicable more broadly), here’s my attempt at framing the sorts of conversations going on amidst the hurt and panic, best and battered intentions, solidarity and silences right now.

News from The RITP team

We are THRILLED to reveal the beautiful new cover design for the second edition of The Relationship is the Project, designed by the amazing Reg Abos of Studio Regina.

My 2023 writing year

In a nothing-short-of-extraordinary writing year, 2023 included the launch of my debut poetry collection, completion of the next edition of The Relationship is the Project, self-publication of my grandmother’s memoir, neiphling’s picture book and family musical, articles in three literary journals, new poems in print and online, and more.

Have your say on the arts in SA

The South Australian Government has announced plans to redevelop its long-term vision for the state’s arts, culture and creative sector. SA artists, arts workers, arts lovers and audiences are encouraged to have your say.

Reading in 2023

With my own book hitting bookshelves and another one in production, I really thought I’d read fewer books in 2023. I was wrong.

In fact, I blew my personal reading record out of the water by getting through 236 books last year (exceeding the 212 I read in 2022).

But let me be clear: READING IS NOT A COMPETITION.

And another thing: the politics of publishing

As I mentioned at my Warrane/Sydney launch of Public.Open.Space. in November 2023, the sad state of the world makes it uncomfortable to talk about book stuff right now, which has made me even more grateful that my book is about control and protest, silencing and speaking up.

Because writers, artists, anyone with a platform, and anyone living on or benefiting from unceded land have an obligation to use our platforms to do so, to listen, learn, interrogate that learning, insist on media justice and speech free of bias and hate, and to recognise and act on our responsibilities.

Resilience for writers

Over the last year, I transitioned from literary-helpmate to trade-published poet. Suddenly, many of my own writing dreams have come true. Seeing my book in a bookshop. Launching it at my childhood library. Hearing authors I adore say nice things about my work. Doing so surrounded by friends, colleagues and writerly comrades from all parts and paths of my life.

This has been both an extraordinary privilege and a sobering induction into the realities of writerly life, much of which I had previously experienced only from one step removed – from the industry’s reliance on an author’s personal ability to hustle to the level of work versus the level of (financial) reward.

Board members, we need to talk about Palestine

Like everyone else at the moment, Australian arts and cultural organisations have been making headlines for what they are or are not saying or doing about the daily and devastating breaches of international law and human rights happening in Palestine and Israel right now.

Digital poetry in Australia, China and Hong Kong

Over the past three decades, digital platforms have become a significant global player in the development and dissemination of poetry.

Like other online art forms, the creation and consumption of digital poetry has grown further and faster since the COVID-19 pandemic—as more people turned to poetry to make sense of the changing world and shared that poetry through one of the only platforms available to them during that time.

Have your say on the Modern Awards Review

Due next Monday (4 December 2023), the Modern Awards Review 2023-2024 is a pivotal opportunity to improve workplace rights and entitlements for the arts and cultural sector.

In a blink-and-you’ll-miss-it consultation period, the Fair Work Commission has invited submissions from artists, arts workers and organisations to investigate potential gaps in arts and cultural sector employment terms and remuneration.