© ATOM 2016 A STUDY GUIDE BY ROGER STITSON
http://www.metromagazine.com.au
ISBN: 978-1-74295-959-7 http://theeducationshop.com.au Curriculum links This study guide is mainly aimed at mid to senior secondary school levels, with relevance to English, Social and Cultural History, Media WAYNE GOLDING, SCOTT DETTRICK, Studies, Art, Social PAUL CLARKE, REG MOMBASSA Studies.
SYNOPSIS CONTENT HYPERLINKS It was back in the days when artwork could get you into trouble. Mambo was a collective of comical and contrary graphic artists that specialised in laconic Australian humour. They ridiculed and sent up everything, including themselves, and became the nation’s most popular art movement of the 1990s. Mambo began in a garage in inner Sydney, and 15 years later grew in prominence to be the obvious choice to represent Australian culture of irreverence at the 2000 Sydney Olympics. The story of Mambo is about art connecting with a lot of people, about how © ATOM 2016 we celebrated a bunch of troublemakers.
2 BACKGROUND SETTING – ‘MAMBO PREHISTORY’
AS BACKGROUND TO EXAMINING THE HISTORY AND DEVELOPMENT OF THE MAMBO ART PHENOMENON, AS PRESENTED IN THE MAMBO DOCUMENTARY, CARRY OUT THE FOLLOWING ACTIVITIES.
• First, at the beginning of the documentary, Mambo artist Reg Mombassa (real name Chris O’Doherty), defines the generic ‘artist’ in ‘nine descriptors’: ‘Beggar, Prostitute, Liar, Thief, Nut Case, Addict, Wanker, Parasite. Now those are the eight pejoratives, and the last one is the superlative, and that is Minor Deity’. Think about why he uses these words to describe the essence of The Artist, and what this has to do with the general subject of the
documentary about Mambo. Discuss in class CELIA PACQUOLA: NARRATOR each one. In what way, for example, could an artist be classified as a beggar, a prostitute or a liar? Is he speaking literally or in metaphor? What is a ‘minor deity’? Is this a suitable subject for a poster illustration of ‘The Artist’? You may wish to attempt such ‘Beggar, Prostitute, subversives and wowsers’. an illustration. Liar, Thief, Nut Case, Discuss what you think this statement means. • Plan and write a short fiction story, a poem Addict, Wanker, Does it mean, for example, that 50% of people or a song about an artist, drawing from Reg Parasite. Now in Sydney were ‘subversives’ and 50% were Mombassa’s nine-point characterisation. It may ‘wowsers’, or does it mean something else? those are the eight be presented in any mode or genre of your What, in fact, is meant by a ‘subversive’? What choice – as a serious presentation, a comedy, a pejoratives, and or who is regarded as a ‘wowser’, and by satire. It may be a contemporary drama, a fan- the last one is the whom? Are these words subjective, laden with tasy, a murder mystery, a science fiction tale. superlative, and positive and negative meaning and weight? If • In setting up the proposition that Sydney has that is Minor Deity’ you are not a ‘subversive’, does this make you always been a place that artists have been a ‘wowser’? Is there any historical evidence REG MOMBASSA’S drawn to, the narrator adds that, ‘It [Sydney] CHARACTERISATION OF AN to demonstrate the truth of the statement that was a town made up in equal measure of ARTIST Sydney was made up in equal measure of sub- versives and wowsers? Also comment, with evidence, on whether the film itself take a stance on and an attitude towards subversives and wowsers. • Early in the program (Chapter 1 – Mambo Prehistory) the narrator refers to Mambo’s early antecedents and influences in Sydney as artist Martin Sharp, the famous satirical magazine, Oz, with which he was associated, and an artists’ collective Sharp set up in 1970, called the Yellow House. (See ‘Martin Sharp’, ‘Yellow House’ and ‘Oz magazine’ in website refer- ences. Note also that a 30-minute documentary film,The Sharp Edge, about the life of Martin Sharp, was made shortly before his death in © ATOM 2016 2013 – see film references.) First, carry out some research about Martin REG MOMBASSA Sharp and his artistic accomplishments and in- volvements, then plan and write a biographical 3 offensive. What were the political, legal and so- cial issues of the times that it drew attention to, and why? Why were the editors and publishers of Oz charged by the police with obscenity, and what was the result of these charges? How is it possible to view Oz, and those who illustrated for it, as setting the scene for the introduction and rise of the Mambo movement? • In what ways was London Oz similar to, or dif- ferent from, the original incarnation of Sydney Oz? Explain how Martin Sharp rose to fame as a pop artist during his years with London Oz. What association did this have with the British ‘psychedelic’ pop music scene of the time? • When Martin Sharp returned to Australia in 1970 he inaugurated the Yellow House. Where in Sydney was the Yellow House? Explain the rationale and the objectives of the Yellow House. What was it modelled on, or inspired by? How did it function? In what way was the house not only a space for new performance art, and a gallery to display new art, but an ob- DAVID MCKAY ject of art in its own right? Is the Yellow House still in existence? • The introductory section of Mambo also draws attention to the B.U.G.A. U.P. movement as item about his place in Australian art history being linked or associated somehow with the and pop culture from the 1960s onwards. For Mambo phenomenon. First, what do the letters example, when and why did he first come to of ‘B.U.G.A. U.P.’ mean? There is a play on notice and prominence as an artist? What was words here, an example of word association. the nature and style of his art? Interviewed What does the acronym mean as a spoken during the program, Mambo artist Bruce Goold word (or as two spoken words conjoined), and suggests that Sharp’s work had a ‘surrealist’ how does this relate to the purpose and inten- quality, referring to the famous Belgian surreal- tion of the political movement itself? Discuss ist painter, Rene Magritte (1898-1967). First why you think the documentary draws attention examine some of Magritte’s work in order to to the B.U.G.A. U.P. movement, associating ascertain what its surrealist characteristics it, even in an indirect way, with Mambo? (See might be, and the aims of these characteristics. ‘B.U.G.A. U.P.’ in website references). Then look at examples of Sharp’s work then discuss in class the surrealist characteristics of his paintings, record album covers and posters etc. • Martin Sharp was one of a group, or collec- tive, of young, radical writers, cartoonists and artists who in 1963 together formed the satirical magazine, Oz, in Sydney. Some members of this group later went to England and set up a British version, also called Oz, in 1967. Carry out some research then discuss in class and write your own description and commen- tary on what kind of magazine the initial version of Oz was, and what kind of material it printed and published. Who were the main participants © ATOM 2016 in the publication? Why did the magazine gain instant attention and notoriety? Note some examples of art and photographic work that MEXICAN WRESTLER were considered to be outrageous and even MASK 4 THE PARTICIPANTS CARRY OUT THE FOLLOWING ACTIVITIES ABOUT THE MAIN PARTICIPANTS WHO APPEAR IN MAMBO.
• Write a short account of the importance of the following selected participants in our under- standing and appreciation of the main issues and themes arising from Mambo. Reg Mombassa, Gerry Wedd, Dare Jennings, Bruce Goold, Jodi Phillis, Suhanya Raffel, Richard Allan. • Carry out further research into the biography and career of Reg Mombassa (see ‘Reg Mombassa’ GERRY WEDD in website references). For example, when and why did he move from his New Zealand home to Australia, and what were the circumstances surrounding his adoption of the name, ‘Reg Mombassa’? Comment on whether his ca- Wedd’ in website references.) reer as an artist – a painter – has continued to • Following from the above activity, carry out some develop since leaving the Mambo collective of research on the construction techniques and artist-illustrator-musicians. methodology of the kind of vase we see Wedd • Research and write an account of Reg making during the program. Mombassa’s Australian Jesus series of paintings • As we may note when examining the website and illustrations. Explain the main features of the references, Wedd has written a Master of Arts series in terms of content, style and expression. thesis titled, Pot Culture – Domestic Ceramics as (To respond to this activity, you may want to refer Subversive Texts. What do you think might be the back to the work of Martin Sharp, and to the issues and the arguments raised by such a title, references to Magritte, earlier in this study guide.) and what does it suggest about Mambo, Wedd’s Would you consider the Australian Jesus series approach to his art, and even to the vase we see to be ‘political’ in any way? You may even wish to him making during the program? discuss the possibilities in class, then plan, design • From the program and elsewhere, explain the link and create your own Australian Jesus poster. connecting Mack Trucks to Dare Jennings and the (More on the Australian Jesus series later, towards eventual birth of the Mambo surf clothing and pop the end of the study guide section about the art enterprise. 1980s and 1990s.) • What was The Tin Sheds, and what were the links • Find out when, why and where Gerry Wedd first between it, independent rock music bands, and developed his skills and art in ceramics. Find fur- the development of the printing of pop art works. ther, later examples of his ceramic work created Explain Dare Jennings’ involvement in catering to since the Mambo days, and comment on the the cultural phenomenon springing from The Tin general and relatively consistent visual approach Sheds. What was the connection between The and content of those works. (You will see many Tin Sheds, Jennings, and The Phantom comic examples displayed on the internet. See ‘Gerry book hero character? (See ‘Phantom Records’ in website references.) • Explain the thinking behind Suhanya Raffel’s deci- sion to stage an exhibition of Mambo art, usually associated with images on surf clothing, at the Art Gallery of New South Wales. Comment on whether you think examples of this kind of art are suitable for display in an establish- ment, state art gallery? Is there an irretrievable contradiction between what might be considered a form of commercial street pop art from the cultural ‘underground’, and the apparent values of an institution dedicated to the purity of ‘high art’? © ATOM 2016 Does it mean that Mambo art had ‘sold out’ its counter-culture attitude to conservative, establish- ment values. What did Dare Jennings, the owner of Mambo, himself think of Raffel’s decision? MATTHEW MARTIN 5 ‘They [the first printed board shorts], sold out. They just sold, and sold, and sold’ DARE JENNINGS
comment is accompanied on-screen by a cam- era shot and audio of Prime Minister Malcolm Fraser giving a speech to the Journalists Club? You may also wish to carry out some research on the popular clothing fashions and designs of the day, such as those released for public con- sumption by Kee and Done, and comment on them – realising that it is very easy to criticise a fashion when it has become long out of date. Were those fashions, styles and designs entirely and popularly accepted in their own day? Or were they criticised and derided at all? • Explain why Dare Jennings chose the surf industry to begin his Mambo-designed, pop art, cartoon-like line of clothing? What do you think it tells us about Jennings as a practical DARE JENNINGS business-oriented person, as distinct from, or as well as being, a counter-culture ‘lefty’? Listen to what he, in fact, says, at this point in the program. What were the political issues of the day that galvanised him? • Jennings remembers, ‘They [the first printed S S 1980 AND 1990 board shorts], sold out. They just sold, and sold, and sold’. Why do you think this hap- - GROWTH OF THE pened? Why were they so popular? • From the program, describe the types of artists, MAMBO BUSINESS and the work they did, that Dare Jennings began to enlist into his Mambo collective. Comment, CARRY OUT THE FOLLOWING ACTIVITIES ABOUT THE for example, on what Richard Allan and Paul DEVELOPMENT OF THE MAMBO ART AND CASUAL Worstead, David McKay and Bruce Goold, and CLOTHING PHENOMENON. Reg Mombassa, each brought to Mambo. • Following from the previous activity, you may • First, from the program’s on-screen graphical wish to create some poster illustrations of your representation of Mambo’s financial growth own featuring some of the images the above from 1985 to 2000, draw a graph showing the artists and illustrators invented for Mambo. growth in the amount of revenue earned dur- For example, you might plan and illustrate a ing its 15 years of business. You may also be Richard Allan Farting Dog image as applied able to connect this to the number of items of to a particular context or setting – it might clothing sold during this time. The on-screen be a range of rough redgum furniture, or an graphics shown in the program are for the years Outdoor Wild Adventure tour. Where, and in 1985, 1987, 1989, 1990 and 2000. • Find the sequence early in the second sec- tion of the program, sub-titled on the screen SCOTT DETTRICK, as ‘Chapter 2 – Mambo Cometh’. Here, the SCOTT NOWELL narrator informs us that in the early 1980s the Australian popular fashion choices of clothes designed by Jenny Kee and Ken Done indicat- ed that we were, ‘On the surface, frivolous and laid back, but below that surface we liked to be ruled with a whip and a chair’. First, what does it mean that ‘we liked to be © ATOM 2016 ruled with a whip and a chair’? Discuss whether there is any historical evidence in the program, or elsewhere, to back up the meaning of the statement. Why do you think the voice-over 6 • Following from the previous activity, discuss in class the possibilities, then plan and create a visual image that characterises a sense of ‘typi- cal’, peaceful suburbia or backyard-frontyard, homely domesticity, but presented in such a way that it seems to incorporate or suggest something menacing, a sense of unease. If you cannot illustrate it yourself, consider creating a collage of existing images. When finished, you may even draw some ideas from it, or from another student’s sample, to plan and write a short fiction story about ‘domestic unease’, perhaps in the Mambo style, but using words ROBERT MOORE instead. • While the ‘backyard’ style of Mambo art was being developed, Bruce Goold was asked by Dare Jennings to create an Australianised what context, might you display an image of a ‘The cornerstones version of the ‘The Green Lady’. This paint- Mombassa-like Blowfly, an ‘iconic’ Australian of Australian ing is actually titled ‘The Chinese Girl’, by an pest. artist called Vladimir Tretchikoff, who painted backyard • Although Dare Jennings was putting together it in 1952. (See ‘The Chinese Girl’ in website a collective of talented artists, there was a lack domesticity references.) of professionalism or organisation in the way became a Mambo Carry out some research into the painting. Mambo went about its activities. For example, staple’ Why did it become more popularly known the colours selected for a particular image on NARRATOR as ‘The Green Lady’? Describe the history of fabric altered when a new batch of paint was the painting – where was it painted and who mixed for them. Explain why this happened? was the subject of the painting? Why do you Why was it difficult, or even impossible, to think Tretchikoff became known as ‘the king of retain the exact colour tinting from one mix of kitch’? paints to another? Find out and describe the Look at Goold’s Australianised version of The means by which an accurate colour consist- Green Lady. How did he Australianise it? (See ency can be maintained when mixing paints. ‘Bruce Goold’ in website references.) • Following from the previous activity, you may Might you consider it sacrilege to Australianise wish to examine how colour consistency and an image of the famous Mona Lisa painting in an entire ‘colour palette’ can be created via Mambo style? If not, plan and illustrate, then computer software. Carry out some research, for example, on the CMYK four-colour printing model, and the RGB three-colour model. What are the differences between each model, and under which circumstances would you select one model, but not the other, for a particular purpose? How is it possible to return again and again to exactly the same colour tint and shade within each of these two models? Also find out what the Pantone colour matching system is, and some examples of where it can be ap- plied. (See ‘Colour mixing models’ in website references.) • Early in the section of the program sub-titled on-screen as, ‘Chapter 4: Back to the Suburbs’, the voice-over narrator says, ‘The cornerstones of Australian backyard domesticity became a Mambo staple’. What examples does she present of Mambo’s depiction of Australian © ATOM 2016 backyard domesticity? In what ways was this imagery made to look a ‘menace’, something dangerous or threatening, and what may have been the intention of this? 7 BRUCE GOOLD ‘…until that point buffoons…’ Describe the lightbulb moment, the major turning point, when the perception of everyone had Mambo art changed. Were there any dangers sort of dismissed inherent in the way Mambo art was now to be us as a bunch of exhibited to the general public at large? buffoons…’ • Following on in general from the previous DARE JENNINGS questions, what happens when something that may have once been a product of the counter- culture, something contrary and maybe even considered juvenile by the Establishment, becomes a part of the very Establishment that once snubbed it? Is it a matter of selling WAYNE GOLDING out, or maturing and growing up? Discuss in class, then create your own poster illustration, painting, poem or short fiction story to capture, portray or enact a response in any way you see either write a short account of the thinking fit to these questions. behind your image, or offer a short talk to your class about it. • At the beginning of the documentary’s section, THE 2000 SYDNEY sub-titled as ‘Chapter 6: The Culture Wars’, the voice-over narrator says, ‘The Nineties was the OLYMPIC GAMES, AND decade of a cultural upheaval’. From the film, describe the type of political THE AFTERMATH and cultural confrontation that was building up within Australian society. Explain the role sug- CARRY OUT THE FOLLOWING ACTIVITIES. gested by the narrator, and writer and historian Tony Moore, played by Mambo in this build-up • First, explain why the organisers of the Sydney of pressure and confrontation. Why does the Olympics, led by Executive Producer Ric Birch, narrator refer to this as a ‘pressure valve re- invited the Mambo collective to take part in the lease’? Offer some examples from the program Olympics Closing Ceremony. What may have in which this pressure was released through been the thinking or the conceptualising of the Mambo’s art, and the willingness of people to organisers as to what Mambo could present demonstrate it on their clothing apparel. Look, not only to Australian viewers but to the world, for example, at Mambo’s response to the rise of through the medium of television? What image a certain type of political opinion as expressed of Australia and its people was Birch intending by Pauline Hanson. to show the world? • As an exercise you may wish to pick apart the possible range of political, artistic, social, his- torical and cultural meanings and associations of word and image conveyed within Mambo’s Redheads/Rednecks poster. • Mambo’s political satire may have been ac- ceptable, or at least accepted and tolerated, but what happened when Mambo artists such as Reg Mombassa began to satirise Christianity in his series the Australian Jesus? Is religious satire so offensive and hurtful to people and their deepest value systems and beliefs that it is beyond acceptance, or is it a valid, worth- while and even necessary form of public expression and discourse? You may wish to look at samples of the Australian Jesus output, and to discuss these questions, the impact the images have on the populace, and what you consider to be the purpose and the intent of the artworks. Is, in fact, Mombassa really satirising religion and religious belief, or something else? © ATOM 2016 • When remembering the 1990s Dare Jennings, Mambo’s founder, makes the comment in the documentary that ‘…until that point every- one had sort of dismissed us as a bunch of DAMIEN MINTON 8 Discuss the accuracy, the truth, the mythology MEDIA STUDIES of this image. (See ‘Olympics closing ceremony’ in website references.) CARRY OUT THE FOLLOWING MEDIA STUDIES ACTIVITIES THAT • Damien Minton, Art Dealer, says towards the end ARISE FROM A VIEWING OF MAMBO – ART IRRITATES LIFE. of the documentary says the final parade was ‘incredibly subversive’. Explain what you think • Discuss why the producers considered that Mambo – Art Irritates he means. Life was a suitable title for the documentary. At what point does • Explain why the Beer Monster, one of Reg the phrase, ‘Art irritates life’ appear in the documentary, and Mombassa’s inflatable displays, did not make it why? Who coined that phrase, from where does it derive, and to the final ceremony. Was it too ‘subversive’? what do you think it might mean, or suggest? If you were asked Write a short fiction story or a poem about the to give the documentary an alternative title, what would you call life of the Beer Monster, in any style or genre it, and why? you consider appropriate. You may include • Carefully note the presentation and design of the on-screen illustrations. title of the program, the seven chapter titles, and the scrolling • Comment on the Mambo-designed Australian end credits. Comment on the way in which the credits comple- athletes’ uniforms. What do you think the ment the subject matter of the film. uniforms represent or are attempting to depict? • Basically Mambo – Art Irritates Life, is a look at a few brief (See ‘Olympics uniforms’ in website references.) years of an art phenomenon from the recent Australian past. • We are informed during the program (in the sec- Discuss what you consider to be the filmmakers’ objectives tion sub-titled on-screen as ‘Chapter 7: Mount and intentions for the program. Olympus’) that Dare Jennings sold Mambo in • Discuss the way in which Gerry Wedd’s Grecian vase, which 2000, not long after the Sydney Olympic Games. we initially see him making early in the program, is a motif, Find out why he made the decision to sell. What a continuing and recurring image of significance, during the kinds of business activities has he been involved remainder of the program. How is it used to link different se- with since? Do they bear any similarity or rela- quences of the film together? tionship to the types of activities and output that • Following from the previous activity, the program’s director, characterised Mambo? (See ‘Dare Jennings’ and Paul Clarke, says in the press kit that, ‘Gerry told his version of ‘Mambo’ in website references.) the story in Mambo images, and it supported the story like a • David Moore says of Mambo since 2000, that, Greek chorus’. What does he mean by his reference to a Greek ‘Now of course, like all great revolutionary move- chorus? Discuss what the purpose of a Greek chorus actually ments, they degenerated into Dad wear’. What is, in classic stage theatre, and how it is supposed to function. does the term ‘Dads wear’ suggest? Comment How does this comment about a Greek chorus relate to Gerry on what he means by his observation, not just Wedd’s role throughout the film? as it relates to Mambo, but to all things and • The program takes a chronological approach to the Mambo movements of a revolutionary appearance. Is he story. Comment on how the use of archival material and pre- correct? sent-day on-camera interview material enhance this approach. • Discuss the legacy that the vital years of • Why do you think Australian actor Celia Pacquola was chosen Mambo’s existence has left us. as voice-over narrator? • Listen closely to the documentary’s narrative • Discuss the use of background soundtrack throughout the voice-over commentary and the comments by documentary – note that there is a long list of song titles in the Scott Dettrick, which both bring the program to final credits. Look at those credits to see whose music is being its conclusion. What do you think played. Ask yourselves why the music of those particular artists is being stated or implied about has been chosen. Select three sequences from the program Australian society today, many and comment on the purpose of the soundtrack music in each years after the passing of sequence, and how it complements or comments upon the on- Mambo’s brightest and most screen images. vibrant era? Do you agree? • Concerning the set design of the film, if you examine the visual • Design an image for a backgrounds behind each of the artists being interviewed, you T-shirt that is a lament, or will see that they tend to vary from one artist to another. Consider a pining, for the early and discuss the purpose, the effect, and the possible meanings days of Mambo, or derived from this deliberate choice. Begin with the set design for the coming of a new Reg Mombassa, which remains consistent throughout. Mambo. Add your own • Working in pairs plan and construct a scripted storyboard for a apt, brief textual com- 30-second promotional video about Mambo – Art Irritates Life, ment to accompany it, designed for television screening. In groups you may then wish of the kind that is used to produce, record and edit your promo. Consider your use of in this documentary’s text captions, sound and film ‘grabs’ of visual content, music, title, ‘Art Imitates Life’, sound effects and dialogue to tie it all together into a cohesive, © ATOM 2016 originally invented by effective advertising message. Mambo artist, Wayne • Plan and write a review in 250-300 words of Mambo – Art Irritates Golding. Life for a daily newspaper or TV program liftout supplement.
CELIA PACQUOLA 9 REFERENCES AND FURTHER RESOURCES
Books and newspaper Bruce Goold:
Martin Sharp:
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