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CuriousWorks produces new Australian stories across multiple platforms and sites, innovating the role of creativity in society. We empower communities to tell their own stories, in their own ways – and in the process, transform themselves.

CuriousWorks produces new Australian stories across multiple platforms and sites, innovating the role of creativity in society.

Featured Stories RSS || Latest Stories RSS

CuriousWorks transforms communities by giving them a voice. We’re building a future where all Australians have regular access to real, compelling stories from the margins of our society.

We do not document or represent those in the margins. We give them the tools and the training to speak for themselves.

Step by step, we’re growing a new generation of storytellers by building cutting-edge media capacity in the most under-resourced places in the country. Our process empowers – rather than exploits – those communities and brings long term, positive change to lives of our storytellers.

What does that mean for you? It means that you have here a sea of fresh Australian stories to dive right in to; an array of folks fostering change in every corner of the continent to meet; and a spread of tricks and tips to become a new storyteller yourself.

[BUILD] Another Australia: CuriousWorks provides training and production services in filmmaking, creative online media and innovative art events for your community. Our passion is to build your capacity to tell your own story in your own way. We’ve worked with schools, councils, non-profits, businesses and individuals of every age and background, throughout the country. Click here to learn more and start building the capacity of your community to fuse the ancient power of storytelling with the contemporary power of new technologies.

[WATCH] Another Australia: This website is a living archive of the stories we enable, as well as other community-led stories from across the country. Click here to get started with some beautiful bursts of community-led cinema.

[MEET] Another Australia: Browse stories from a particular person or group – check out Curtis Taylor, Matta Media and Matt Sutton to get started!

Website Credits:
Build and Architecture: the Interaction Consortium
Key Assets Design: Cecelia Charlesworth
Design and Architecture: Shakthi Sivanathan

Be saved from culinary calamity with Ama and Chan's Kitchen Rescue web series
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A love of hot and spicy cooking brought them together, now it’s their intolerance of others’ incompetence in the kitchen that keeps the spark alive.

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If you, like me, have spent your life boiling rice on the stove, not realising your culinary faux pas, I recommend you stay tuned for the delightfully blunt cooking tips bought to you via Ama and Chan’s Kitchen Rescue.

Produced by Matta Media, this soon to be released 6 part series is the brain-child of Ama and Chan, Western Sydney’s most dynamic, loud and kooky married couple. A love of hot and spicy cooking brought them together, now it’s their intolerance of others’ incompetence in the kitchen that keeps the spark alive.

Having had a successful theatrical season of their self-titled show , Ama and Chan were inundated with fan requests for hot tips in the kitchen. Not wanting to disappoint their followers, Ama and Chan have decided to make a web series to rescue audiences everywhere from their cooking calamities.

The series will begin in February: like CuriousWorks on facebook to ensure you don’t miss a minute.

words by el winkler, producer and serial rice boiler

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The House that Thatha Built
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Redfern-Guadalajara-Toronto-Jaffna I entered Sri Lanka for the first time over December with my mother who was last there in 1973. We hoped to visit the house my grandfather built in ...

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Redfern-Guadalajara-Toronto-Jaffna

I entered Sri Lanka for the first time over December with my mother who was last there in 1973. We hoped to visit the house my grandfather built in a village near Jaffna in the 1940s. It was one in a series of distinct houses built by ‘Malaysian Returns’ – Jaffna Tamils that had left to work in Malaysia but returned later to re-settle.

My mother, who was born in Singapore, lived in this house for only one year yet still bears strong childhood memories of her time there. As a family accustomed to the city life of Malaysia they had trouble adjusting to the ways of the village. Thatha eventually acquiesced to the family will and they returned to Malaysia, leaving the house to care takers.

My parents moved to Sydney soon after my sister and I were born, extending the family network. I can recall an incident from my childhood when a group of young men came to our house to solicit donations for ‘the movement’. My father sent them away firmly stating that we were Malaysian Tamils with no interest in their cause.

Years later, during the ceasefire I developed my own interest in the island, but family friends advised against visiting. ‘You look Tamil, but you only speak English – it will only cause you trouble!’

My interested was again piqued after the 2004 Tsunami. Then in 2009 diaspora politics suddenly nose dived into my activist concerns, as boats full of Tamil refugees arrived in Australia in the aftermath of war. My investigations around this issue lead to a lesser known history of South Asians at sea; of ship borne anti-colonialism and dockside activism that had real effects in Australia, as well as travelling further abroad. My own engagement with this history took its course from a tattoo–performance in a Sydney gallery, to find an absurd connection with an anti-authoritarian T-shirt maker in Guadalajara, Mexico, and eventually prompted speaking engagements in Toronto, Canada.

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Jump Ship with WT Nobert, Gaffa Gallery Sydney, 11 February 2010

I was circling around the international diaspora, but had yet to arrive at Jaffna. Upon reflection it was a process of negotiation across politics, family and traditions that I had spent most of my life questioning and departing from. By the time I touched down at Bandaranaike International Airport, mother in tow, I had no idea what to expect.

From Colombo it was an overlong haul in a clumsy minibus that delivered us to Jaffna sometime after midnight. After a day to recoup and sight see, we finally arrived – on Christmas day – at the house that Thatha built. Once wide and grand, it was now in a state of disrepair, having passed through several hands since my grandfather packed up his family and left.  It is currently home to a large family of fisher folk forced to relocate by the fighting several years ago.  Having arrived unannounced, they cheerfully allowed us to poke around.

A question of race

Conversations with family and friends revealed not only a sense of relief that the war had ended, but also some trepidation regarding the momentum of re-nationalisation, and with it the urge to forge an all encompassing national identity in an effort to alleviate the issue of race in post-war politics.

As discussions in the media  and elsewhere indicate, there are concerns that establishing an overly patriotic code of national identity will invariably lead to defining a standard by which the national may exclude or discriminate – potentially stifling the political representation of not only Tamils, but also Muslims, Burghers and other ethnicities identified on the island.

My praxis over recent years has engaged with processes of dis-identifiaction and de-nationalisation – problematising aspects of my Tamil identity and Australian citizenship – with the intent of opening a space for (trans)cultural practice that operates beyond the allure of race and the agenda of nationalism. As a critical practice, it is most often placed in Australia within a discourse of Asian orientated multiculturalism, which I complicate by linking it to a history of anti-colonialism.

At the conclusion of my trip I was interviewed for the program “Connections“:http://youngasia.tv/category/connections/ on Young Asia Television that, as the title suggests, connects Sri Lankans around the world. When asked about my Sri Lankan identity I replied that I had a very tenuous connection to Sri Lanka, but a problematised affiliation with the Tamil diaspora. I was quickly advised that in Sri Lanka the word ‘diaspora’ carries connotations of internationalised support for anti-state terror.

Dinner with an NGO

What then is the role of the diaspora now that the dream of Tamil Eelam has been quashed? Before leaving Colombo I had dinner with a friend of a friend from Toronto now working for a non-government organization (NGO) that designs and implements basic education and food programs with communities devastated by the war.

The competing and contradictory narratives as to what occurred during the final stages of the war and its effects on civilians are well known, so naturally I probed him for information on interment camps which are still operational, displaced people that might never return to their homes and areas developed with World Bank initiatives that are now completely flattened.

Speaking carefully he talked of a generation that has known nothing but the trauma of war, who have lived through circumstances that his organisation have neither the resources or qualifications to deal with. Projects such as counseling are not only difficult to implement, but may also be politically discouraged for establishing some  sort of account that contradicts the Government narrative. Instead their NGO focuses on rebuilding, educating and designing pathways for development with the communities concerned.  He appeals to the diaspora, as those with a long serving interest in the region and its people to help establish long term rehabilitation projects and to encourage translocal connections with people limited in the extreme, regardless of their race or ethnicity – encouraging a globalised circuit that effects de-nationalised change.

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Sumugan Sivanesan

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Catch a slice of Martu life in 2 minutes. From our desert crew in remote Western Australia.

Catch a slice of Martu life in 2 minutes.

Watch more short docos from the people of Punmu here.

Producer: Dave Wells
Directors: Curtis Taylor, Anthony Gibbs, Owen John, Carol Macdonald
Directors Photography: Curtis Taylor, Anthony Gibbs, Owen John, Carol Macdonald
Editors: Curtis Taylor, Anthony Gibbs, Owen John

The Stories Project
Creative Director: Shakthidharan
Producer: Eleanor Winkler
Mentors: Elias Nohra & Platon Theodoris

The Stories Project is presented by CuriousWorks.

Content by the Desert Stories crew is produced in partnership between CuriousWorks and Martu Media, a division of Kanyirninpa Jukurrpa.

Music
'Marathon Man’ by Jason Shaw
Under Creative Commons License
freemusicarchive.org

Cast: CuriousWorks

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A cautionary tale about 3 boys who went hunting for fun!

p(first). A cautionary tale about 3 boys who went hunting for fun!

Written by the High School students of Burringurrah Remote Community School, in Western Australia. Directed by Mat De Konig & produced by CuriousWorks in partnership with Country Arts WA as part of the Out There Gascoyne Arts Project.

Cast: CuriousWorks

Tags: burringurrah , yamatji , gascoyne , western australia , aboriginal australia and indigenous australia