Cultural exchanges with Asia help artists improve relations

FROM India to South Korea, writers and artists are some of Australia's most compelling emissaries.

AS I write, artists and performers are creating Australia's cultural future in studios, on stages, in communities and concert halls across Asia.

From five leading writers on a 2000km rail journey between centres of literature in India, to a polyglot interactive performance in Taipei, to the Sydney Symphony's six-city tour of China: on the road, in residence and working in professional exchanges, Australia's artists are some of the nation's most compelling emissaries.

Yaron Lifschitz, artistic director of Brisbane's physical theatre Circa, says: "This is the most dynamic region in the world today. It isn't for the faint of heart, which makes it perfect for a circus." Trailblazers such as Lifschitz are actively enmeshing us in our region.

Significantly, he points out: "Cultural exchange is key; we seek to create a genuine two-way flow of ideas and opportunities. Touring Circa's work to Asia has taught us that it is a complex, invigorating and challenging set of markets which demands strategic nous, high interpersonal skills and well-positioned products."

It's a balancing act familiar to increasing numbers of Australian arts and cultural companies, individual artists and performers. From the Sydney Symphony and Gertrude Contemporary to Musica Viva and the State Theatre of South Australia, Asia has long been identified with our future, and the cultures of the region have a growing influence that infuses contemporary Australian creativity.

In the context of the compelling national framework provided by the Australia in the Asian Century white paper, the Australia Council for the Arts' role involves fostering and supporting exchange and dialogue, as well as development of emerging markets with the purpose of creating deep connections. It's a national effort in which a re-energised Australia International Cultural Council could play a leading role.

Indeed, the government's renewal of the AICC is an essential element of the national architecture for Australian culture in the Asian Century.

The approach outlined in the white paper focuses on closer collaboration and co-operation between agencies, departments, state arts bodies and companies. It's a nimble and responsive way of working, aligned with the best contemporary thinking about cultural engagement and exchange.

And while few would disagree the AICC has generally been an effective consultative group, drawing together representatives from across federal government, the cultural and business sectors with common interest in more effective international promotion of Australian arts

and culture, there is a consensus that a revitalised AICC could do more.

The Australia Council's role in this national system is to make strategic investments that establish or strengthen long-term connections between our nation and the world.

Through direct support for touring, residencies, exhibitions, in-bound visitors programs and significant ongoing devolved investment in pivotal organisations such as Asialink and key events such as the visionary Asia Pacific Triennial, the Australia Council works to maximise its contribution to this national priority.

Last week federal Arts Minister Simon Crean announced the signing of a memorandum of understanding between the Australia Council and UNESCO bureau in Bangkok. This agreement is another incremental building block in the architecture of our national engagement with Asia.

It provides a platform for Australian artists and arts leaders to engage the region with the purpose of sharing and exchanging our experiences and research about culturally and linguistically diverse communities and art with our neighbours.

Extended engagements and collaborations have come to define the approach to Asia of Melbourne's Snuff Puppets since the company first toured in 1999. This year it will conduct workshops and performances in Taiwan, South Korea, Thailand and India. According to executive producer Simeon Moran, the People's Puppet Project has enduring appeal because it brings together diverse community groups to work intensively with the Snuff Puppets team to design, build and perform with their own puppets.

Meanwhile, the AICC-supported Oz Fest is under way in India. Twenty-four government and non-government partners have come together to present a wide range of cultural programming in many of India's most important centres. The Australia Council has supported a series of projects as part of this significant event with its ambitious, broad but nevertheless resonant aim to bridge the imaginations of our two communities.

Across a country the size of India and a region as complex and diverse as Asia, the national priority of deepening friendships and creating meaningful cultural connections will always be a work in progress. And while much good work has been done, it is timely that we recommit ourselves to this objective.

Kathy Keele is chief executive of the Australia Council.