The Transnational Story Hub: Between Self and Other
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Transnational Story Hub: Wollongong (Australia) and Vigo (Galicia) http://webs.campusdomar.es/tsh/ Centre d'Estudis Australians Universitat de Barcelona Gran Via de les Corts Catalanes, 585 08007 Barcelona Telèfon: 93 4035686 Fax: 93 3171249 ISBN 978-84-608-6934-4 Cover Image: Po&Pla Audiovisual http://www.poypla.com/ This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. 2016 THE TRANSNATIONAL STORY HUB: BETWEEN SELF AND OTHER Edited by Merlinda Bobis and Belén Martín-Lucas TABLE OF CONTENTS A note on the text and Acknowledgements …………………………….6 “A Welcome Story” (Creative Artefact 1) …………………………….9 Aunty Barbara Nicholson “To Aunty Barbara Nicholson” (Creative Artefact 2) …………………………..12 Iria Misa “To Iria Misa” (Creative Artefact 3) …………………………..13 Tara Goedjen Chapter 1: “Dreaming Latitude: Un-Sovereign Borders” …………………………..14 Merlinda Bobis “To Donna Waters” (Creative Artefact 4) …………………………..54 Mariló Gómez “To Ismael Alonso” (Creative Artefact 5) …………………………..55 William Young “To Alba de Béjar” (Creative Artefact 6) …………………………..56 Tara Goedjen Chapter 2: “Transnational Story-Making and the …………………………..57 Negotiation of Otherness in the Transnational Story Hub” José Carregal “To José Carregal” (Creative Artefacts 7 and 8) …………………………..72 Tara Goedjen “To Alba Alonso” (Creative Artefact 9) …………………………..73 Tara Goedjen “To Alba de Béjar” (Creative Artefact 10) …………………………..74 Patrick McGowan 2 Chapter 3: “A Phenomenological Reading of the …………………………..76 Transnational Story Hub” Patrick McGowan “To Patrick McGowan” (Creative Artefact 11) …………………………..93 Iria Misa “To Ismael Alonso” (Creative Artefact 12) …………………………..94 William Young “To Iria Misa” (Creative Artefact 13) …………………………..95 Tara Goedjen Chapter 4: “Speaking in Tongues” …………………………..96 Tara Goedjen “To Tara Goedjen” (Creative Artefact 14) .……………………….112 María Reimóndez “To María Reimóndez” (Creative Artefact 15) .……………………….114 Tara Goedjen “To Ismael Alonso” (Creative Artefact 16) .……………………….116 William Young Chapter 5: “[Monolingual] Sounds, [No] Translation as .……………………….117 Subversion and the Hope for Polyphony” María Reimóndez “To María Reimóndez” (Creative Artefact 17) .……………………….140 Tara Goedjen “To Iria Misa” (Creative Artefact 18) .……………………….141 Aunty Barbara Nicholson 3 “To Aunty Barbara Nicholson” (Creative Artefact 19) .……………………….144 María Reimóndez “To Alba Alonso” (Creative Artefact 20) .……………………….145 Tara Goedjen Chapter 6: “‘The Contact Zone’: Aporia and Violence in .……………………….146 Listening, Translation and Response” Matilda Grogan “To Iria Misa” (Creative Artefact 21) .……………………….161 Matilda Grogan “To Alba Alonso” (Creative Artefact 22) .……………………….162 Tara Goedjen “To Jeanette Bello” (Creative Artefact 23) .……………………….163 Tara Goedjen Chapter 7: “The Transnational Story Hub as Coexistence: .……………………….164 A World of Silence versus an Oral World” Mariló Gómez “To Mariló Gómez” (Creative Artefacts 24 and 25) .……………………….178 Tara Goedjen “To William Young” (Creative Artefact 26) .……………………….179 Iria Misa “To Alba de Béjar” (Creative Artefact 27) .……………………….181 William Young Chapter 8: “Finding Morriña” .……………………….183 Elisa Parry “To Elisa Parry” (Creative Artefact 28) .……………………….197 Iria Misa 4 “To Alba de Béjar” (Creative Artefact 29) .……………………….198 Tara Goedjen “To Donna Waters” (Creative Artefact 30) .……………………….199 Iria Misa “To Donna Waters” (Creative Artefact 31) .……………………….200 José Carregal Chapter 9: “‘An Ugly City in a Beautiful Place’: .……………………….201 Landscape in the Identity of Wollongong” L Phillip Lucas “To Vigo” (Creative Artefact 32) .……………………….229 L Phillip Lucas “To José Carregal” (Creative Artefact 33) .……………………….231 Joel Ephraims “To Jeanette Bello” (Creative Artefact 34) .……………………….232 Tara Goedjen Chapter 10: “The Risks of the Transnational in the Face of .……………………….233 Globalisation: Aporia, Hybridity and Resilient Nationalism in the Transnational Story Hub Project” Belén Martín-Lucas “A Polyphonic Afterword” (Creative Artefact 35) .……………………….256 Contributors .……………………….259 References .……………………….265 Appendix 1: Space of Flows Diagram .……………………….290 Appendix 2: Imagining Vigo .……………………….291 Appendix 3: Imagining Wollongong .……………………….320 5 A NOTE ON THE TEXT Taking advantage of the platform that the Centre d’Estudis Astralians offers, this text includes embedded hyperlinks so that readers may easily consult the cross-references within the book and to the TSH website. To facilitate the reading process, these have not been visually marked unless they are to tertiary sources, but can be located by moving the cursor over the linked text. ACKNOWLEDGEMENTS Our deepest gratitude to all the students and the community story-makers in the Illawarra and Galicia who participated in the Transnational Story Hub for their generous contribution, commitment, and goodwill towards this project, including those who had to leave forced by adverse circumstances. We especially thank all the contributors to this book for their cogent and passionate ‘feeling-thinking-doing’ in relation to the self– other heart of this project, and towards the multiple others encountered in its various processes—thank you for the creative fire and critical rigour, and patience and constancy. Our gratitude goes also to the technicians at the Campus do Mar: Campus of International Excellence who made our online exchange possible, and to the Campus do Mar Board of Directors, the University of Vigo, University Wollongong, and to the Spanish Ministry of Economy and Competitiveness for providing funds towards the development of the TSH within the larger projects “Globalized Cultural Markets: the Production, Circulation and Reception of Difference” (Ref.: FFI2010-17282) and “Bodies in Transit: Making Difference in Globalized Cultures” (Ref.: FFI2013-47789-C2-2-P). Also thanks to the Australian National University Centre for European Studies for providing Merlinda Bobis the time and space to work on the early draft of this book. Special thanks to Luke Phillip Lucas who patiently and tirelessly copyedited and formatted the chapters and our creative works for this book; and to Andrea Ruthven, 6 ACKNOWLEDGEMENTS who gave the manuscript its final shape for publication. The beautiful cover design and artwork are courtesy of María Platas and Borja Pozueco at Po & Pla Audiovisual, to whom we extend our thanks and gratitude for the generosity of their time and expertise. We are grateful to the editorial team at the Centre d’Estudis Australians at the University of Barcelona for warmly welcoming and encouraging this project. We also extend our heartfelt appreciation to those who told their stories and made us discover our city and ourselves in relation to our community— In Wollongong: Wadi Wadi Elder Aunty Barbara Nicholson for teaching us about geography, history, the Dreaming and its lesson of listening; Camille Carroll, Peter Carroll, Andrei Gareev, Rubing Hong, Catherine Mouritsen, Sophie Mouritsen for taking us to the bush and all the hidden ‘imaginings’ about our home region; Shirley Jackson, Lyle Davis and Member for Keira Ryan Park for their admirable activism in looking after country, planet, home; the South Coast Spanish Writers’ Group with Cleo Pacheco, Maricarmen Po’o, Gil Po’o, Juan Quiñones, Emilio Yañez, and Violeta Cordova for their animated debate about language, culture, and for writing their beautiful poem about home, and the South Coast Writers Centre and its Director Friederike Krishnabhakdi-Vasilakis for facilitating this collaboration with them; and Mauro Zoller, Nicole Aitken, Belinda Kelso, and Ryan Curtis who re-imagined with us our city nestled in the Pacific; much-loved dad Ronald Grogan who took us to the soccer field and taught us the kinship in play among different cultures; Innocent and Therese Ngoy Mwananzeng who moved us with their courage all the way from their first home in the Congo; and Wendy Richardson OAM, playwright and author of the play Windy Gully, which commemorates the Mount Kembla Mine Disaster, for her haunting account of its aftermath. Their stories, richly imagined and generously told, have been produced into sound art with the invaluable technical expertise and creative flair of Joshua Craig, and the 7 THE TRANSNATIONAL STORY HUB: BETWEEN SELF AND OTHER continuing support of Aaron Hull—so thanks to them, and also to Karnjamart Puengpaisal who worked on the initial TSH website graphic design. We also thank Whitney Yasserie and Sean Curran and the third-year Prose Fiction class of 2010, whose earlier contributions to the project remind us of our shared pleasure in language and story, enduring to this day. In Vigo: the dear students at Escultor Acuña School, both impaired-hearing and hearing boys and girls who taught us how to listen, especially to silence; beloved mamá Rosa Romero Soria for her patience and kindness; Helena Miguélez Carballeira, María Xosé Queizán, N Manimekalai and Marta Dacosta, and all the anonymous women who rallied, shouted and sang during the March 8th celebrations of 2011; Mr Rubén “Mehu” Iglesias and Mr Juan Rafael “Paniko” Diez; the Os Poetas da Hostia who agreed to be chased around the city with a recorder stealing their verses and their energy; all the interviewees from O Porriño and Vigo for their kind collaboration and the pleasure of the meeting and conversation—this pleasure calls for a symbolic thanks to Galicia and to Vigo, the beauty that spurred the storytellers’ readiness to respond; friends and colleagues who supported, facilitated, and inspired the listening,