The Puppet of White Farm

On 25th of March, my short play The Puppet of White Farm was not performed in Belarusian Dream Theatre, a global theatre event about Belarus which contained submissions from writers in many different countries, writing about Belarus.

This event was problematic for me, because, firstly, it raised the question - "What do I know about Belarus?" and then a second, supplementary question "What does anyone know about Belarus?" Both are critical questions.

My submission, a parody of the musical Oliver! which follows the rise of President Lukashnko to power, was not written to be performed, as it is impossible to stage. It did, however, take many hours of labourious research and learning on my part. I also find it an interesting musical, not least because it contains a natural comparison between dictatorships and liberal democracies.

The full text of the short play are below. If you don't know the musical, you can find the corresponding tunes on Youtube, and you too can sing along to the tune of Lukashenko...

The Puppet of White Farm

A Musical for Belarus, a parody of Oliver!

By Richard Pettifer

Characters:                                                                                          Character in Oliver!

LUKASHENKO: President of Belarus                                                   Oliver  

BOYS                                                                                                   Orphanage boys

FOUNDING HOME COMMITTEE HEAD (FHCH)                          Mr. Bumble

BANKER                                                                                             Undertaker (Mr. Sowerberry)

ZŁODZIEJ SZTUKI (ZS) – A Polish ‘Artful Thief’.                               The Artful Dodger

FAGINOV – Soviet War Hero turned head of collective farm                  Fagin

MONGRELS                                                                                       Fagin’s Children

BELARUSIANS

SECRET POLICE

Note: The BOYS, BELARUSIANS, MONGRELS, AND SECRET POLICE form a general ‘chorus’, which can be as small as four or as large as 9.464 million members. FHCH, BANKER and FAGINOV can also double. Other arrangements may be possible, but all the text should attempt to be delivered in whole unless otherwise specified.

Cast Size: 7+

Musical Numbers:                                                                               Equivalent from Oliver!

(chords, or acapella, only)

SAUSAGE OR FREEDOM                                                                  Food Glorious Food

BOY FOR THE EXCHANGE OF THE GIFT OF MONEY                Boy for Sale

RE-CONSIDER THE ‘SELF’                                                               Consider Yourself

YOU’VE GOT TO BUILD A ROCKET OR TWO                               You’ve Got to Pick a Pocket or Two

Act 2

I’D DO ANYTHING, FOR YOU, COMERADE                                 I’d do Anything

LOCK-EM-UP, LOCK-EM-UP, THAT’S HOW IT GOES                    Oom-pah-pah

Style: Music-Theatre for the Age of Austerity.

Synopsis:

Act I

Our story begins in the Moscow Founding Home with the orphans singing about how they have little or no opportunity for anything other than survival (Sausage or Freedom, based on the rhetorical question of the 1991 election - "which do you prefer, sausage or freedom?" to the tune of 'Food Glorious Food'). Lukashenko is elected by straw poll to go and ask for more food, and when the Founding Home Committee Head expresses outrage, Lukashenko makes a passionate argument that elected representatives such as himself should be fed more, (calling to mind his real-life expressions in a forum in 2011 where he exclaims "I could not have a car and walk everywhere, but the people would be embarrassed"). The FHCH decides that Lukashenko should be given a second helping but also that he can't have such revolutionary ideas in the Founding Home, so he decides to offer to 'forget that Lukashenko ever existed if he is given an appropriate gift' (the sale of labour capital being an anti-Marxist idea). He takes Lukashenko to Minsk and agrees to 'forget the existence' of Lukashenko with a Banker in exchange for 7,000 Reubels. However, while the banker is complaining about having to hedge against the Soviet Union by investing in U.S Military suppliers, Lukashenko escapes and  meets the Polish communist Złodziej Sztuki ('Art Thief') who takes him through the realities of how capitalist ideas are dangerously intruding into Belarusian Life and creating too much individualism and narcissistic self-interest (Re-Consider the 'Self'). He takes him to his collective farm, run by the old war veteran Faginov who teaches him that closer ties with the East Farm are necessary for their survival and that military power is a necessity for any defense of shared values  (You've Got to Build a Rocket or Two). Impressed by Lukashenko's ability to simultaneous uphold two competing ideas, Faginov tells him "you will be the greatest man of all time".

Eat Money

On 6/12, I will eat a 100 Euro note in collaboration with Sonja Hornung and Carrie McIlwain. This is part of Schenken als Problem (The Gift as Problem) which is a month-long exhibition at Group Global, a gallery in Kreuzberg, Berlin.

Wall Embassy publication

The work Wall Embassy was featured in Interartive's online magazine, in a special edition on 'Art and Mobility'.

http://artmobility.interartive.org/wall-embassy-sonja-hornung-richard-pettifer/

"As artists, we have a social role to learn, to communicate, to work with communities, and to observe and identify “the others” and invite them in."

I wrote a short argument for theatre makers rejecting institutions in the current global political environment. Thanks to A Younger Theatre for publishing this. http://www.ayoungertheatre.com/feature-theatre-maker-institution/

Interview with Ahmed Nadalian

In March I undertook a residency with the artist Ahmed Nadalian in Iran. During the residency I interviewed Ahmed about Iran, and that interview was published yesterday by Cultura21.

Read the interview here

I would like to say a special thanks to Tom Doig of tomdoig.com for helping me to edit the interview and providing general moral support.

Violating Democracy

On 21st of June I was invited to perform for a protest event in Berlin called 'Violating Democracy'.

The event was targeted at Greece's recent austerity measures, more specifically, the cuts to services that the Greek government has made in order to meet austerity targets set by the EU.

Any economist will tell you that there are two ways for a country to reduce debt - increase tax revenue, or cut spending. Increasing tax revenue targets tax evaders and wealthy people, and is a difficult and arduous task for any government, and can take a long time to see any effects. Cutting spending is quick, easy and mostly affects the poor. If enough pressure is applied, or if a government is lazy, it will take this second option.

Sometimes,  if they are to services people require, the effects of cuts cause death. In the case of the subject of my performance, Dimitris Christoulas, they had the consequence of him no longer being able to live on his pension. He sadly hung himself in Syntagma Square, Athens, on April 4th, 2012.

The Desperate Voyage

I have nothing to add to what is already an over-politicised phenomena, which is the manifestation of people seeking asylum in Australia arriving by boat.

Except that xenophobia is a product of distance. Distance is, I have been arguing, the political mechanism through which people are turned against one another. Distance is created, and twisted to serve political ends.

Art collapses this distance. In Australia, I think, it mostly fails, but I would like to be proven wrong in the future.

Final Performance of 'People Spoke'

Areille and Orion (in absentia) were kind enough to host me for my final performance in Berlin, as part of Berlin's Month of Performance art.

I inserted a slightly different opening for this perfomance. Here is an excerpt:

SLAVOJ ZIZEK: You know what is interesting to me in the Turkey situation is that its alot like the Arab Spring yes, but also the Turks have much more, er, media *sniff* and so it was even quicker to get out on the internet and so on. I mean this is a really good example, I think, where, you know, the media is not reporting directly so much on the crisis, but it also doesn’t matter so much because the narrative is already written without them.

Thank you to all who came last night, it was such a pleasant and unexpected evening.

rp

MVI 0584 from Richard Pettifer on Vimeo.

People Spoke - Berlin (1) from Richard Pettifer on Vimeo.
Photos/Videos: Arielle Bier

Berlin Bombing

Wedding is a suburb of Berlin known for its Turkish population (which is actually only about 30%). We sat on a particular wall of Wedding every day for one week from 4-11th May, and constructed a Wall Embassy. The concept was to create a space that did not exist within national structures. Our research centred on 'Statelessness', which is a term denoting both people who have no nationality and are therefore not protected by international law, and the utopian idea of people who are free to float between national borders with relative freedom, such as I was doing on my way over to Berlin from Australia (although it was not as easy as this sounds).

People could join us on the wall by climbing the ladder and passing a simple test, which most artists failed. The test was as follows:

1) Think of an 'apple' and say 'banana'
2) Think of 'Europe' and say 'Egypt'
3) Think of a 'Beggar' and say 'Businessman'

Performances in Bucharest

In Bucharest, I found a generous and engaged arts community. I made two performances, both to full houses, one in an abandoned building which has been turned into an arts space called Carol 53, and the other in the Apartment Theatre of my host, Lorin, called Lorgean Theatre.

http://lorgeantheatre.wordpress.com/2013/04/15/un-australian-la-lorgean/
http://casacarol53.wordpress.com/

Photos from the performance of People Spoke in Carol 53 were taken by Ana-Maria Iordache, who was also my host along with her sister Roxana.

"The most dangerous forms of oppression are created by shaking hands" Interview with Cristina Toderas

As part of my performances in Bucharest, I was interviewed by journalist Cristina Toderas. The full interview can be found using the link below (Romanian).

http://totb.ro/cele-mai-periculoase-forme-de-opresiune-sunt-create-prin-strangeri-de-maini/

”Cele mai periculoase forme de opresiune sunt create prin strângeri de mâini” _

A translation with Google Translate (and some grammatical corrections) follows.

"The most dangerous forms of oppression are created by shaking hands"

People Spoke is the performance that Richard Pettifer aims to discuss individual freedom and its limits. The show is part of Global Warming tour, which began on 1 January 2013 and will be completed when the artist will comes to Berlin, where he will join other artists who protest against unsustainable methods used by governments. During the tour, departing from central Australia to Darwin, then across the Timor Sea to Indonesia, stopping in Java and Sumatra Islands, then in Singapore, Peninsular Malaysia, Thailand, Myanma, Northern India, Pakistan, Iran and Turkey to Europe Richard preferred to travel by bus or train. A plane used only twice since the beginning of the challenge, when it was absolutely necessary. The only way to leave Australia is flying, and the artist needed artificial wings to cross Myanmar. 

Coming performance dates - Bucharest

 

Artwork: Jean-Lorin Sterian

People Spoke
17th April
Carol I Boulevard, No' 53, 020915 Bucharest, Romania
22:00
(free), 45 mins
 facebook.com/events/488280397911450/?fref=ts

The Agony and the Ecstasty of Steve Jobs
by Mike Daisey
19th April
Lorgean Theatre, Bucharest
In English
(price: one fresh apple) 90 mins

lorgeantheatre.wordpress.com

Persian Broken Fish Project

TEHRAN, IRAN

In early April I undertook two weeks residency with environmental artist Ahmed Nadalian in Iran. I had a lot of problems with Ahmed's approach, which seemed to me apolitical and apathetic at a time when action is paramount. He, in turn, found me to be overly cynical and detached (my words).

I promised him I would make a performance if he gave me one of his fish, which he makes by carving images of fish into rocks. When he gave it to me I began to smash it against the tiles of his gallery. Ahmed was filming using my camera. When it was finished, we realised that the camera was not rolling. I filmed the subsequent moment by accident, you can hear our embarrassed laughter.



2013-04-09 17.58.42 from Richard Pettifer on Vimeo.


Ahmed would late charge me 10,000 Iranian Rial (about $3) for the rock. He told me now that it was broken he would be able to sell it for double.

I conducted an interview with Ahmed about climate change - which I will post shortly.

The Rooftop Stage in Kolkata (Calcutta)

Photos from the performance of 'Two Love Letters' on a rooftop in Kolkata, India.

 With thanks to League of Shadows for hosting me.

Pictured: Priyam Chaterjee

'Bashed in Caboolture' told walking the streets of Kolkata

'Bashed in Caboolture' told walking the streets of Kolkata from Richard Pettifer on Vimeo.

Emissions calculation

Tally of Emissions

All measurements in Tonnes.

Via direct flight, total emissions would be 2.664

melb-bris = 0.1 (shared car, 3 people)
bris-townsville = .08 (shared car, 3 people)
townsville - darwin = .225 (shared car, 2 people)
darwin - bali = .267 (FLIGHT)
bali - surabaya = .01 (Ferry, bus)
surabaya - yogya = .01 (Train)
yogyakarta - jakarta = .01 (Train)
jakarta - batam = .02 (Ferry)
batam - singapore = .001 (Ferry)
singapore - kuala lumpur = .02 (Train)
kl - bangkok = .09 (Bus)
bangkok - kolkata = .233 (FLIGHT)
kolkata - delhi = .09* (Train)
delhi - lahore = .07* (Train)
lahore - quetta = .03* (Train)
quetta - zahedan = .02* (Bus)
zahedan - bandar-abbas = .01* (Bus)
bandar-abbas - tehran = .02* (Train)
tehran - van = .02* (Train)
van - sirince = .05* (Train/Ferry)
sirince - kavala = .005* (Bus/Ferry)
kavala - bucharest = .02* (Train)
bucharest - berlin = .11* (Train)

*projected

total = 1.511


---end---

HYPOTHETICALS

(after the jump)

The Imaginary Boat

Although it is only a stretch of 500km, there is no boat between Phuket Island, Thailand and the Andaman Islands, India.

To get between them without flying, you have to hitch a ride on a sailing yacht.

Once you reach the Andamans, you can continue to India on one of its thrice-weekly ships.

Sections of the journey to Europe which cannot be done by land, and why

From Kolkata, India
6.11pm

During my six months of research for this project, I struck two sections on my desired route which are uncrossable by land. Interestingly, although I am passing through India, Pakistan and Iran, supposedly the least receptive areas of the world (if you listen to the media), these countries are actually fine to pass through by land. And when I say 'fine', I mean there are certainly risks, but they are not as high as you might think.

No, the two sections which prevent overland travel between Europe and Australia are:

- Myanmar. This country has been under the rule of a military government for a long time, and as a result still suffers from a high degree of lawlessness, especially in the Eastern region, where there are disputes with the native Rohingya people, who are Islamic (unlike the Buddhist majority). As a result, whilst it is periodically possible to enter into Myanmar from Thailand, you cannot exit to India or Bangladesh.*

- Australia. Australia is a first world country which will protect its borders at all costs from foreigners fleeing from war-torn countries. As a result, you can only travel to Indonesia by air. There are boats, but it is not possible to get on them.

Which of these seems rational? A war-torn country with various post-colonial problems and an oppressed minority seeking their freedom? Or a country which tries to prevent foreigners from entering it because... why? Maybe they will seek asylum and suck our horrible social services system dry? 

Maybe we just don't care.

There are many ironies here. I speak some Indonesian, the reason being that I studied it when I was in Primary and later High school. I studied it for 7 years. During that time, I never had any idea why I was studying it. In a country school in Victoria, it was the only language option. Something about 'improving relations' or 'economic ties'.

However, in a country that is inherently xenophobic and navel-gazing, just because you speak someone's language apparently does not equate to letting them into your country.

*Note: you can still cross into India via private yacht from Phuket to the Andaman Islands, a distance of 500km. This is possible from Phuket, if you stalk the marinas for long enough. I tried for a week. Next time.

Article from Yogya Daily

 

Article Text:

SLEMAN - Richard Pettifer, seorang sutradara dan artis pertunjukkan dari australia menunjukkan kebolehannya bermain pantomim di Warkop Lidah Ibu, Jalan STM Pemangunan, mrican, Selasa (20/2), Tampil dihadapan belasan penonton, Richard mengusung tema People Spoke atau orang berbicara.

Dalam pementasan berdurasi selama 40 menit itu, Richard menyuarakan jeritan orang orang yang tertindas. Tema tersebut diambil Richard karena merasa prihatin dengan orang yang merasa dirinya merdeka. Menurut dia, kesejahteraan yang dimiliki oleh orang sejatinya belum menjamin kemerdekaan sosorang. "Di Australia orang orang berpikir dirinya merdeka namun bagiku itu keliru. Misalnya, mereka berpikir kesejahahteraan adalah kebebasan. Tapi bagiku kesejahteraan bukanlah sebuah kebebasan. Kadangkala kebabasan seseorang hadir dengan konsekuensi tidak bebasnya orang lain" terangnya kepada Harian Jogja.

Pandangan Richard perihal kebebasan itu direpresentasikan dengan melakukan berberapa gerakan unik saat melakukan pertunjukan pantomim. Ia bakan memasukkan aksi para biksu Tibet membakar diri dalam melakukan perlawanan terhadap pemerintah tiran. Dalam aksinya itu, ia sempat menyalakan korek gas untuk ditempelkan kepakaian yang ia kenakan. "ide ini sebenarnya spontan karena aku dapat ide waktu sehingga tidak sempat latihan khusus. Api itu kemudian sempat mengenai tubuhku" ujarnya sembari terkekeh.

Kebatangan Richard ke Jogja tersebut merupakan salah satu rangkaian turnya ke beberapa salah satu rangkaian turnya ke beberapa negara dunia. Setelah tampil di Jogya, secara berurut ia akan menyambangi Iran, Turki, rumania dan terakhir Jerman.

 ---

Translation to English

SLEMAN - Richard Pettifer, a director and performance artist from Australia showed skill in pantomime at Warkop Mother Tongue, Jalan STM Pemangunan, Mrican, Tuesday (20/2), Shown in front of dozens of spectators, Richard’s theme is People Spoke.


In a staging lasted for 40 minutes, Richard voiced the cry of the oppressed. The theme is taken as Richard was concerned with people who feel themselves independent. According to him, the welfare of which is owned by someone does not guarantee freedom. "In Australia people think themselves free, but for me this is wrong. For example, someone might think prosperity is freedom. But to me, prosperity not a freedom. This liberation comes with consequences for both the individual and for others – and these are not independent" he told Daily Jogja.

Richard's view is about freedom represented by a unique couple of movements when performing pantomime. He even put the action of the Tibetan monk burning himself to take the fight against government tyranny. In that action, he had struck a gas to be attached to clothes he was wearing. "This idea is actually spontaneous because I have no special training. The fire was all around me" he said as he chuckled.

The arrival of Richard to Yogyakarta is one of a series of his tour to several countries of the world. After performing in Yogyakarta, sequentially he will be visited Iran, Turkey, Romania and finally Germany.

 ---

Comment:

This is only a brief overview of the work I was doing and, as usual with the media, sometimes does a disservice through simplification (necessary because of those pesky ever-reducing column sizes). I particularly like the line "This idea is actually spontaneous because I have no special training. The fire was all around me" It brings to mind a kind of devilish amateur appropriation that I hope I was not guilty of in the performance, especially of something so personal as the suicide of a Tibetan monk, which is not a chuckle. Having said that, the journalist bothered to engage with the idea rather than fetishising me with 'foreign superstar' status, which is more than can be said than many Australian media sources in the way they report on visitors.

Many thanks to Kurnianto for penning the article.