The Invisible Puppeteer

Over the last year, I’ve been privileged to work with linguist Kit Loke on her collection of poems exploring her experiences with chronic neuropathic pain, spasm, disability, and illness. To kick off 2015, I’m very pleased and proud to help Kit launch her poetry blog, The Invisible Puppeteer. This project was made possible by Access Arts and arts-worker/performance-maker Nathan Sibthorpe.

What I love about Kit’s poetry is the way it engages the reader’s empathy and sense of hope. Ultimately, her work chronicles her decade-long journey to mentally triumph over the chronic pain and illness she experiences.

I hope you’ll visit, follow and share The Invisible Puppeteer.

ArtStart: 2015

It’s been a big week — and 2015 has its claws around the door.

I’m thrilled to announce (I’ve been bursting with the embargoed news) that I’ve received an ArtStart grant!

Australia Council’s ArtStart grants can be used to kickstart creative careers. After the launch of Salt and Bone, I’ve wondered where to go next with poetry. ArtStart will help me spend a year learning under awesome mentors: Bronwyn Lea in Brisbane, Warsan Shire in London and Adrianne Kalfopoulou at the Black Forest Writing Seminars in Freiburg.

Holding off on planning till after this crazy Christmas, but I’m excited to share this explosion of exclamation marks with you: !!!!!!!!!!!!!!!!!!!!!!!

Thanks, OzCo!

Z. xo

Hares, Hyenas and Home

Just dragged my suitcase in the door after a whirlwind week in Newcastle (at National Young Writers’ Festival) and Melbourne (for the Melb. launch of Salt and Bone at Hares and Hyenas). I met so many fantastic writers and readers at NYWF, thoroughly enjoyed lording it as a judge at the Epic Word Nerd Battledome (pictured, with Jane Howard and Adolfo Aranjuez), and relished reading Foreign Soil on the beach.

Word Nerd Battledome JudgesHearty congratulations, also, to Scum Mag on the launch of their first print zine. It comes with TEMPORARY TATTOOS. What’s cooler than that? Zero things. The zine fair was a highlight, as was getting up on stage at the launch orgy in a nightie to perform Blood Spells with the Scum gals. (Photo below by Alan Weedon.)

I’m so grateful to ReVerse Butcher and the team at Hares and Hyenas for hosting the Melbourne launch of Salt and Bone. Thank you to everyone who came along. Here are the lovely Broede Carmody’s words on the book (and thanks, Broede, for the launch snap):

“Zen describes herself as an expat of the Voiceworks editorial committee, for which she read and edited poems for a number of years before she turned 25 and we realised she was not just too old but also too disgustingly talented to be involved in the magazine any more.

“But seeing as we’re here for the launch of a poetry collection and not a memoir I should probably talk a little about Zen’s work itself and not just her pretty face.

“I think it’s appropriate that this book is called Salt and Bone because not only does the powerful imagery in Zen’s poetry leave a taste in your mouth but it also affects you physically. Poems like ‘Aftershocks’ deal with sexual assault but importantly use the language of survival. Similarly, other poems celebrate women, sex, polyamory and the queer identity. A lot of poetry out there—particularly the kinds we are introduced to in high school or that are available in book stores—are by old, white men and Zen’s poetry really strikes a chord with me because it’s different. It’s so important that queer Australians see themselves reflected back on the page.

“So with that I would like to say fuck you to the patriarchy, and consider this book launched.”

Hares and Hyenas launch

CIRCUS REVIEW: Scotch and Soda

Company 2’s Scotch and Soda began its life at Woodford — and that grassroots festival vibe stays with it, even confined to a theatre. The Judith Wright Centre again proves itself to be a chameleon space: Dan Black’s clever lighting design makes use of colourful string-lights to evoke the big top. Company 2 (known for Cantina) conjures an immersive speakeasy atmosphere in the round through simple design, costuming and music. In this case, the Crusty Suitcase Band binds the production together and takes it from great to unforgettable.

Scotch and Soda features circus staples — acrobalance, aerials and slapstick — but what sets Company 2 apart is that, while each performer is at the top of their game, there’s a larrikin sense of chaos and play. It reassured me (just in case I was wondering if I was having a great time or not) to see two of Limbo’s cast members (Danik Abishev and Heather Holliday)* in the audience, having a damn good time. If international circus talent of that magnitude loves your show, it’s definitely good stuff.

Scotch and Soda by Sean Young (SYC Studios)

Scotch and Soda photographed by Sean Young (SYC Studios)

Chelsea McGuffin (co-director), whose signature move is to tiptoe across wine bottles, could balance her way out of any dilemma; David Carberry, Daniel Catlow and Ben Walsh bring chemistry to adagio and vaulting; and Mozes is hilarious on roller-skates but gobsmacking on trapeze. But Scotch and Soda is more than spectacle: the Crusty Suitcase Band is a vital part of the performance, with weird sax breaks and percussion-offs definite highlights. They even play the plastic bag, to great effect.

The only time Scotch and Soda takes a dip in energy is during a sequence featuring budgerigars, whose unwillingness to play along is comic, but ultimately overlong — and it’s unclear how keen the budgies are to keep us company. (There was also a puppy at the start that didn’t reappear — alas!)

Company 2’s last production, She Would Walk the Sky (World Theatre Festival, in collaboration with Finegan Kruckemeyer), struggled with incorporating sluggish prose. In Scotch and Soda, the company returns to its strengths, and the result is sheer delight.

SCOTCH AND SODA played at Judith Wright Centre of Contemporary Arts from 24 to 27 September, as part of Brisbane Festival. Company 2 returns to JWCoCA in November with Sediment.

*BTW, Strut and Fret’s LIMBO is completely astounding and I spent all my BrisFest dollars on seeing it twice.

 

DANCE REVIEW: Deluge

Motherboard Productions break away from the rambunctious structure of their previous work (you may have heard me gush about JiHa Underground…) in this meditative contemporary dance piece.

As we file in to the Powerhouse’s main theatre, performers move back and forth between the audience and a kitchen hutch that stands centre-stage. Person by person, we are offered tea. It’s a ritual that grounds the tone of Deluge and sets the scene at a low-key gathering at an Auchenflower share-house.

The kitchen vanishes, the party is washed away and we’re left holding our cups. The performers re-emerge in costumes that evoke rushing water (designed by Kiara Bulley, Bianca Bulley, Noni Harrison). Dane Alexander’s electronic soundscape takes us out into the storm, lit in blue and lightning by David Walters (who — briefly — makes the best use of strobe lighting I’ve ever seen). Each sequence of Deluge builds layers of movement patterns, repeated with swelling energy.

Jeremy Neideck (Deluge)

The performers explore grief through tidal tableaux, but the show’s most haunting moments arise out of frenzy: surges of operatic song, convulsions that suggest drowning. And, in a resonant climax, a river-spirit drags itself across the stage, weighed down by a cloak of human trash (including the paper cups and serviettes in our hands).

Water is a theme that gushes through both JiHa Underground (World Theatre Festival 2014, Brisbane Festival 2012) and Deluge, yet here Motherboard takes a brave step away from previous work — in this case, from interactive musical theatre to meditative dance. The pieces haven’t quite come together yet: there’s disconnect between the distinct Brisbane note of the kitchen scene and the body of the work, which in itself often relies on repetition over depth.

Director/lead performer Jeremy Neideck and devising troupe (Hoyoung Tak, Younghee Park, Youngho Kwon, Katrina Cornwell, Sammie Williams, Amy Wollstein) have proven their talents time and again — and Brisbane is lucky to host continued collaboration between Korean and Australian traditions. No doubt, with further development, Deluge will come to further illuminate its themes: water, ritual, loss, growth.

DELUGE played at Brisbane Powerhouse from 18 to 20 September as part of Brisbane Festival.

WUNDERKAMMER: Less than one week to go

Less than one week to go until WUNDERKAMMER: the co-launch of Curio and Salt and Bone. Kristin and I are doubly excited! And so relieved that Avid is taking care of everything.

If you’d like to come, please RSVP via Avid Reader (for free!). This ensures we have enough free wine and nibbles for everyone to get sufficiently jolly.

If you can’t make the Brisbane launch but would still like a copy of either book (or both!), here’s how:

WunderkammerPosterA5_Revision3-page-001

INTERVIEW: Fetish Fridays

Fetish Fridays celebrate their second successful year of bringing kinky shenanigans to the Brisbane stage. This Friday, Brisbane Leather Pride’s vice president, Lucero, clues me in on next Friday’s big playdate.

ZENOBIA FROST: Last year’s Fetish Fridays series were a great success, blending performance and play. What has changed as the event’s concept has developed through 2014?
LUCERO: The success of last year’s Fetish Fridays meant that we didn’t want to change much about the events themselves. What we’ve done is have the events at three different venues including holding one on the Gold Coast to make them more accessible to those living outside of Brisbane.

ZF: FFs are developed in collaboration with Brisbane Leather Pride. How important has it been to create a wholly inclusive space?
L: Incredibly important. Part of the Brisbane Leather Pride mandate is to be inclusive of all genders, orientations, lifestyles, etc. We aim for these events to be entertaining, educational and sometimes challenging but we endeavour most of all in making them accessible to everyone.

ZF: What will make even newbies feel at home?
L: The Fetish Fridays events are a great introduction due to the performance nature of the events. Many kink related events are promoted solely as ‘play’ parties, which implies that you must be an active participant to attend. While I know from experience that this is not the case, it certainly can make people nervous about attending. What you will get with Fetish Fridays #3 is a night of entertainment that will show a newcomer to the scene some of the things possible in the kink world — a showcase if you will. The BLP committee members in attendance will also be available to answer any questions people may have.

BLPZF: Tell me about the performances planned for FF #3. What will be your highlights?
L: Redbear and his beautiful partner Namaiki are seasoned performers who will no doubt put on a very moving rope performance. Dolly de Ville is spectacular on pole and fresh from competing in Miss Pole Australia. Reigning ‘Miss Burleque Brisbane’ Magnolia Knife will add some sass, while you can expect something dark from self-proclaimed Old Guard Goths Rex and Ruby.
I will be doing a suspension piece with the amazing Nix, but the highlight — for me at least — will be Master Pierre, who has something very special indeed planned with his pup Jolt. I do not want to give the game away before the night, but Master Pierre’s show will be both entertaining and challenging.

ZF: Your speciality is rope — though it’s not your only area of expertise. How do you make rope-play performative?
L: Honestly? By having an amazing rope bottom, Nix, who does all the hard work and makes me look good. Match this with some theatre, great music and costuming, and I find it is possible to transform a fairly simple rope suspension into something that will take the audience on a journey. Like most performance-based art I truly believe it is about telling a story and having the audience engage.

ZF: Tell me about FF’s newest space. How will it transform from performance to play space?
L: For the final Fetish Friday of 2014 we have chosen a secret location in the heart of Milton. Due to the successful nature of the shows last year, the chosen venue was practically at capacity, so this year we picked a bigger venue with plenty of space.
As the performances come to a close the lighting will dim and the music will start to change the atmosphere of the venue into something of a more underground club feel. As with all kink events, it is the people that make the most prevalent changes and I would expect to see the kinky regulars to start playing almost straight away. Non-active participants are encouraged to stay, watch and ask questions or if they feel comfortable get involved in a safe environment under the watchful eyes of staff and dungeon monitors.

ZF: The event also has a charitable side. Tell me about FF’s support of the Queensland AIDS Council (QuAC).
L: Proceeds from the event will go to support Brisbane Leather Pride this year, as we have just applied to become incorporated after our Inaugural General Meeting in May. While BLP is a not-for-profit venture and all non-performers donate their time voluntarily, there are of course some costs involved. That said, we have a long running association with QuAC and so we donate all monies raised from the excellent raffles held at each Fetish Friday to them. So far, over the first two events, we have raised over $500 for QuAC.

ZF: What’s the number-one thing that makes Fetish Fridays a highlight of Brisbane’s kinky calendar?
L: The kink scene is by its very nature is a somewhat underground place and still taboo in many people’s minds. This is one of the few times that the kink-curious can meet with the experienced and ask real people real questions in a safe and well-managed space.

FETISH FRIDAYS #3 runs from 7pm – 2am on 5 September 2014 in Milton, with the show itself starting at 8pm. (The exact location is sent with your ticket confirmation, but it’s close to Milton train station.) Tickets $30.

Total Eclipse of the Zen

Well! I’m about to go undercover (read: do a lot of poem-writing and grant-applying in bed) to prepare for upcoming festivals and new work. Salt and Bone is ready to launch (!) and I’m ready to zoom up and down the east coast (including a Lushie work retreat in Sydney). Here’s some of what’s coming up:

  • Queensland Poetry Festival: Celestial Monsters, 31 Aug @ 11am
    Judith Wright Centre shopfront space (FREE): Rachael Briggs and Zenobia Frost have been places humans shouldn’t tread. And they’ve returned with poems, song cycles and the lingering smell of graveyard dirt.
  • Queensland Poetry Festival: Into the Warmth, 31 Aug @ 1.45pm
    Judith Wright Centre performance space (FREE): Poetry can be sung from the rafters, and it can be an intimate act between strangers. Join us for this very special Sunday Poetry Yum Cha session – come in, find a seat, grab a snack, open your ears and your heart. Featuring Candy Royalle, Max Ryan, Cyril Wong, Zenobia Frost and Adam Hadley
  • Wunderkammer: The launch of Salt and Bone and Curio, 18 Sept @ 6pm
    Avid Reader (FREE): Kristin Hannaford and Zenobia Frost co-launch their new WALLEAH PRESS poetry collections. Join us for drinks and nibbles as we celebrate confluence, quolls and possums — and send Hannaford’s CURIO and Frost’s SALT AND BONE into the world. Bookings essential.
  • National Young Writers Festival: Newcastle, 2–5 Oct
    Program launched soon — watch this space. Basically lots of this:
    212dance
  • Salt and Bone: Melbourne launch, 7 Oct
    Salt and Bone launches in good company at Hares & Hyenas. Details TBC.
  • Sleep: Oct–Nov

 

At last: SALT AND BONE

It’s here! It’s real! It’s got a spine and an ISBN!

Salt and Bone (Walleah Press) will be available for sneaky pre-sales at Queensland Poetry Festival, with a Brisbane launch in mid-September. Then, if I’m lucky, a little touring!

Melbourne-based artist Bettina Marson designed the beautiful front and back covers (and tolerated me emailing her about 340 million photos of curlews being weirdos). I think this cover is about as Brisbane as it gets:

SALT AND BONE

Here are some very nice things that Cordite Poetry Review‘s Kent MacCarter said about Salt and Bone:

“Frost’s are fearless poems, engaging with and confronting the intricacies of our sex-then-life-then-death eddy. Treacle, black pepper and clove, the weight of Atlas: these are poems Bertolt Brecht would delay his first morning coffee or crossword to consume … Their alchemic moods forge a contemporary age of bronze, one that, somehow, already sports your fingerprint embossed into its folds. Salt and Bone is her own Epic Theatre.”

If you’re super-duper keen, you can preorder the collection from Walleah.