MANIFESTO

TL;DR: What even happens here?

  • We write reviews, opinion pieces, info articles, policy critiques and much much more.

  • Our primary focus is art in Meanjin | Brisbane and Queensland, with a strong preference for independent, underground, alternative and experimental, but generally, all about the local flavour no matter the source.

  • We support and enable writers to develop their skills, through recursive feedback, workshops and by creating a dynamic space to discuss writing.

  • We prioritise our revenue to make sure that equitable payment is a priority.

  • We work to ensure that everyone gets paid - find out more, support our project and subscribe to our newsletter here

A longer read…

The critical response space is a strange place to occupy, being composed of part audience, part provocateur, part mirror and part magnifying glass.

This project was originally launched in 2016 and in response to the striking lack of reviewers in Brisbane. Particularly for arts made by independents, in small spaces, with provocative themes or challenging subject materials. Most of the few channels that are available are staid, conservative, paid advertorials, reworked brochure copy, lacking insight and depth, or fiercely guarded by media gatekeepers and huge professional PR firms. Brisbane is yet to host a giant fringe festival, so we don’t gather the focus of the national and international press that follow these kind of events, and that means there are but a few writers responding intelligently to the arts in Brisbane.

Critical response shines a light on themes, on thoughts, on the message of a playwright or a creative. It holds them to account, and questions the wherefore, the why, it considers the framework the art sits in, and if it has been true to its forefathers, if it has creatively destroyed a useless hierarchy, if it has been a true homage to its heroes, if it got the audience where it needed to go.

Critical response is not about being an asshat. Critique is about questioning, reflecting, regurgitating, digesting. It's about analysing the grist of a play. The quality of the emotional journey, the intellectual transformation, that evokes in the audience. Any production of a certain standard is likely to have nice costumes and adequate sound. We are not here to tell you the stage looked pretty. We want to talk about the wider world, and how this art fits into an intersectional experience. We want to critique the premise and articulation. We want to look inwards and reflect fully. We want to throw that back against the collective paradigm, and take the pulse of the zeitgeist.

Not all our writers agree with each other. Not all our writers agree with themselves. Not all our writers are adept in every performing artform. Not all our writers have the same tastes, proclivities, talents or faves.
But they all live, breathe, and chew on the stage and its denizens.

We stand on sacred and unceded land

Meanjin is a river city with a long history of gathering, storytelling, performance, innovation, community and connection.

The river Maiwar flows through and between sacred Country, the nations of the Jagera, Yugara, Yugarapul, and Turrbal peoples. It is bounded by Quandamooka country to the east, Gabi Gabi and Waka Waka country to the north, Barunggam to the north-west, and Bundjalung country to the south.

We acknowledge that the First Nations people are the first artists, the first storytellers, the first communities and the first creators of culture. We pay respect to their Elders, lores, customs and creation spirits. We recognise what an honour and a privilege it is to live in this ancient place, and acknowledge that sovereignty has never been ceded.

We walk on land with a long memory. May we be ever-present to it’s contemporary transitions, and guard its fierce heart well.

If you are a First Nations person who is interested in contributing to our conversations, please email us at hello @ nothingeverhappensinbrisbane.com