Red Door 34

Featured artist Hazem Harb --------------------------------------- pgs. 06-15 NOVENO MUTABLE NINTH MUTABLE By Perrozompopo on Red Press -------- pgs. 16-17 POETRY submissions ------------------------ -pgs. 18-24 featuring: John Peter Beck Mukund Gnanadesikan Chad W. Lutz Zachary Cohn Holly Payne-Strange Charles Malone Jeddie Sophronius NATURE & CULTURE International Poetry Film Fest ----------- pgs. 25-27 WHAT’S NEW in the POETIC PHONOTHEQUE--- --------------- pgs. 28-31 STOCKHOLM: SOUTH.NORD has arrived ------------------ pgs. 32-33 RED DOOR is turning 15! BRAND NEW PATREON and a SAVE THE DATE! ------------------------------ pgs. 34-35 CORACLE EUROPE ----------------------------- pg. 36-39 TRANÅS AT THE FRINGE JUST TURNED 1O! Here’s what that looked like --------------- pg. 40-41 YOU ARE CORDIALLY INVITED ----------------------------------------------- pg. 42-23

Featured artist
Hazem Harb --------------------------------------- pgs. 06-15

By Perrozompopo on Red Press -------- pgs. 16-17

POETRY submissions ------------------------ -pgs. 18-24

John Peter Beck
Mukund Gnanadesikan
Chad W. Lutz
Zachary Cohn
Holly Payne-Strange
Charles Malone
Jeddie Sophronius

International Poetry Film Fest ----------- pgs. 25-27

WHAT’S NEW in the
POETIC PHONOTHEQUE--- --------------- pgs. 28-31
SOUTH.NORD has arrived ------------------ pgs. 32-33

RED DOOR is turning 15!
a SAVE THE DATE! ------------------------------ pgs. 34-35
CORACLE EUROPE ----------------------------- pg. 36-39
Here’s what that looked like --------------- pg. 40-41

INVITED ----------------------------------------------- pg. 42-23


You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

RED DOOR <strong>34</strong><br />



WINTER 2023<br />



RED<br />

36-39<br />

From Wales to the rest<br />

of the world:<br />

The poetic activism<br />

of CORACLE Europe.<br />




A poetry book by<br />

Perrozompopo.<br />

16-17<br />

02<br />

26-27<br />


The 3rd edition of this<br />

International Poetry<br />

Film Festival just took<br />

place digitally and in<br />


40-41<br />


FRINGE celebrated its<br />

10th anniversary<br />

32-33<br />


Reclaiming<br />

spaces<br />

for Black<br />

& Afro Nordic<br />

voices.<br />

The POETIC<br />


finally found<br />

its poetry collecting<br />

device...<br />

and it makes<br />

so much sense!<br />

28-31<br />

06-15<br />

RED DOOR <strong>34</strong>:<br />

Celebrating the work<br />

of Hazem Harb.<br />


Founder & Director:<br />

Elizabeth Torres<br />

(Madam Neverstop)<br />

www.madamneverstop.com<br />

Poetry Editor:<br />

Pablo Saborío<br />

Correspondents:<br />

Melaine Knight<br />

The Neon Rebel<br />

Australia<br />

Tanya Cosio,<br />

Mexico<br />

Brandon Davis,<br />

Germany / DK<br />

Mario Z.Puglisi<br />

Mexico<br />

Miller Almario<br />

<strong>Red</strong> Visions<br />

Colombia<br />

Kultivera<br />

Sweden<br />

Kirjan Talo<br />

Finland<br />

Cover & featured art by<br />

Hazem Harb<br />


Featured artist<br />

Hazem Harb --------------------------------------- pgs. 06-15<br />



By Perrozompopo on <strong>Red</strong> Press -------- pgs. 16-17<br />

POETRY submissions ------------------------ -pgs. 18-24<br />

featuring:<br />

John Peter Beck<br />

Mukund Gnanadesikan<br />

Chad W. Lutz<br />

Zachary Cohn<br />

Holly Payne-Strange<br />

Charles Malone<br />

Jeddie Sophronius<br />


International Poetry Film Fest ----------- pgs. 25-27<br />

WHAT’S NEW in the<br />

POETIC PHONOTHEQUE--- --------------- pgs. 28-31<br />


SOUTH.NORD has arrived ------------------ pgs. 32-33<br />

RED DOOR is turning 15!<br />


a SAVE THE DATE! ------------------------------ pgs. <strong>34</strong>-35<br />

CORACLE EUROPE ----------------------------- pg. 36-39<br />



Here’s what that looked like --------------- pg. 40-41<br />

THE NEON REBEL -------------------------------pgs. 42-47<br />

RED DOOR MAGAZINE #<strong>34</strong><br />

WINTER 2023<br />

<strong>Red</strong> Press, Copenhagen<br />

ISBN: 978-87-94003-20-9<br />

www.reddoormagazine.com<br />


------------------------------------------------------------- pg. 48-49<br />

All rights reserved to the<br />

corresponding authors.<br />




<strong>Red</strong> <strong>Door</strong> Magazine releases digital & printed issues<br />

quarterly with an emphasis on visual art and poetry.<br />

This includes multimedia art, artistic research, essays<br />

on projects, reports on festivals and activism, as well<br />

as relevant media articles and documentation of the<br />

activities by you and your network.<br />

The magazine always features a poetry selection, prose,<br />

and occasional interviews by established and emerging<br />

artists, plus relevant upcoming events. We’re here to give<br />

you a handful of essential pieces you can digest in one<br />

sitting.<br />

We’re currently seeking visual art, music, film reviews,<br />

travel and media articles, poetry, fiction, and creative<br />

nonfiction. Simultaneous submissions are always ok,<br />

but if you have a piece accepted elsewhere, please let<br />

us know by adding a note to your submission; we’re not<br />

aiming for exclusivity - but relevant, quality content.<br />

Please send your questions to reddoorny@gmail.com<br />

________________________________________<br />

File specifications: Your article may be a maximum of<br />

two pages, and we accept a maximum of 3 poems per<br />

submission. All languages are welcome but please include<br />

English translations. Also include a small biography of up<br />

to 5 lines about you. All this must be included as .doc files<br />

or PDF. All images must be attached as .jpeg images in<br />

a resolution of 1080 x 1080 px or its equivalent in format<br />

so it can be used for print and hi-res for web. Please note<br />

we currently accept poetry submissions only via our<br />

submittable platform:<br />

https://redpress.submittable.com/submit<br />








Where is the poetry in a world that likes to breastfeed oppression?<br />

High-pitched.<br />

War is a high-pitched moan<br />

that begins in the core<br />

ofeveryone’s twisting stomachs during – what<br />

dinner? – and the pebble stones,<br />

outside, the crackling of normal life<br />

and blood beginning to disgorge<br />

from every orifice<br />

bullet holes on every wall / on every mental<br />

image of this and that place / on the concept of<br />

harmony<br />

until reality turns into a colander that only filters<br />

truth and no longer can hold the bullshit<br />

spewing from politicians’ frothy mouths and<br />

lined pockets / let alone the news channel.<br />

The basic needs of shelter and comfort / bread<br />

and wine and good conscience remain<br />

the inherited beliefs / the misconceptions / just<br />

like the ancestors, a need for water and purpose,<br />

love, even<br />

and by default the taught concepts of territory<br />

and identity as the thread that keeps it together<br />

but this moan keeps growing / itching in the ears<br />

and hearts of the brave whose hope allows them<br />

the courage to do something about it<br />

while the rest of us nod our heads<br />

because we’ve taught our heart to remain silent.<br />

Across the sea, the world will continue to have<br />

winters and summers,<br />

new years and recessions, reasons<br />

to always want to take bites off other hands /<br />

lands / what is it about humanity that makes it so<br />

parasitic? unable<br />

to see these testaments of life<br />

claiming for their democratic right to exist<br />

without the possessive rites of capitalism<br />

pretending this moan hasn’t turned into a<br />

deafening scream... which in no way silences it /<br />

softens it / makes it go away<br />

just creates accomplices<br />

and a thick cloud of tear gas and dust that gets in<br />

the lungs and the spirit.<br />

06<br />

I would keep telling you what I see<br />

but as I poeticize about this monster that is<br />

war, apartheid occurs in Palestine<br />

tell me, where is the poetry in a world that likes to<br />

watch as we, them, us, are killed?<br />

Our words fled too<br />

there are no poets safe from this<br />

poetry cannot be heard under the helicopters<br />

/ tanks / excuses / gunshots / explosions / lies /<br />

automatic weapons / numbness of war<br />

poets hate war / poets have no magic powers /<br />

poets are paralyzed like everyone else because<br />

they know what happens when they speak:<br />

If they make it out of the rubble they end up<br />

having to tell their stories hundreds of miles away<br />

as I do now, in little red notebooks<br />

with this same frustration / rage / blood boiling<br />

for freedom and no tears left / just paths<br />

of memory forever traced in empty hands<br />

so I say raise your arms, my siblings, do not be<br />

empty handed like the rest of us / the pain will<br />

cease / the light will return<br />

the only way to defy death is to live a life<br />

worth its weight in poetry.<br />

By consequence, Palestine, you are poetry,<br />

you are eternal.<br />

The world must hear your cries. It must. Won’t it?<br />

Where is the poetry in a world that likes to watch<br />

as we are extinguished?<br />

High-pitched. War is a high-pitched illness<br />

that first goes for them,<br />

but always comes after<br />

for us.<br />

Elizabeth Torres<br />

Copenhagen, May, 2021<br />

Courage: /ˈkʌrɪdʒ/<br />

noun<br />

1. the ability to do something that frightens one;<br />

bravery.<br />

2. strength in the face of pain or grief.<br />

Silence: /ˈsʌɪləns/<br />

noun<br />

1. Complete absence of sound.<br />

verb<br />

2. To prohibit or prevent from speaking.


08<br />



010<br />


Visual artist Hazem Harb’s trajectory,<br />

spanning several decades, maintains<br />

an unwavering dialogue with his<br />

symbolically charged homeland.<br />

Moving from Gaza to Rome to receive<br />

his MFA at The European Institute of<br />

Design, and then on to the UAE, Harb<br />

has learnt to navigate life as a liminal.<br />

Knowing that his place of origin<br />

can never be just a ‘land’, the artist<br />

unleashes an ever-evolving repertoire<br />

of artistic techniques to negotiate a<br />

space which has been carved up and<br />

re-drawn many times. His art is at once<br />

subsumed in deep locality, fuelled by<br />

personal insight, and entangled in<br />

conversations that cannot be easily<br />

separated from the global arena. His<br />

practice is intended more as visual<br />

excavation than romanticisation of<br />

the Other, and through it, we can<br />

explore the paradoxical and pressured<br />

relations between people and places.<br />

Steering away from nostalgia and<br />

the fetishisation of displacement, he<br />

draws from academia, architecture,<br />

as well as European art traditions, to<br />

negotiate an axis of complex social<br />

and cultural relations; built and natural<br />

environments, longing and belonging.<br />

Much like the artists of the early<br />

twentieth century who, through the<br />

deployment of collage, healed from<br />

the trauma of the first world war<br />

by binding together everyday and<br />

artistic experiences; Harb succeeds in<br />

materialising complex and unfamiliar<br />

terrain. Operating as a researcher, by<br />

collecting and synthesising archives<br />

of rarified ephemera including<br />

photographs, negatives and maps,<br />

Harb mediates his materials in a<br />

manner which dismantles them from<br />

a static space. Through a process of<br />

collage, layered down with geometric<br />

precision, he stitches visual artefacts<br />

together and forms fresh constructions<br />

that invite unheard discourses and a<br />

historical rethinking.<br />







Hay que sacarse el espanto,<br />

desconfigurarse a uno<br />

mismos, salir de todos,<br />

totalmente de todos, arbitrarios,<br />

escribirse y volver a escribirse,<br />

dejarse caer<br />

como gota de sangre sobre un papel<br />

en blanco.<br />

Esto no es poesía, son solo textos<br />

que me definen<br />

como la ciudad que soy<br />

y todas sus infinitas posibilidades,<br />

soy nada más un hombre satisfecho,<br />

con cosas para entender, discernir, aceptar<br />

o rechazar.<br />

Y algo de ello<br />

hacerlo mío.<br />

Pero si no existe,<br />

inventarlo para mí.<br />

It is necessary to get rid of fear,<br />

to deconfigure oneself,<br />

to get out of everyone,<br />

totally out of everyone, arbitrarily,<br />

to write and rewrite oneself,<br />

to let oneself fall<br />

like a drop of blood on a blank paper.<br />

This is not poetry,<br />

these are only texts that define me<br />

as the city that I am<br />

and all its infinite possibilities,<br />

I am just a satisfied man,<br />

with things to understand, to discern,<br />

to accept or to reject, and to make of this<br />

something mine.<br />

But if it doesn’t exist,<br />

to invent it for myself.<br />

-Perrozompopo.<br />

The infinite path of the richness that abounds in Latin America, fertility that emanates not only in<br />

nature and history, but also in our lyrics. The singer-songwriter who dedicates his life to being a<br />

dreamer, poet, writer, singer.<br />

Regardless of what he is called, he is a narrator of his own history, the narrative of his context, of the<br />

period in which he lived.<br />

The same one who describes love and its delusions by saying that “love is a bag of memories...love<br />

is my structure, the word, the corners of your mouth the truth”.<br />

Ramón Mejía, Perrozompopo, is an intrinsic lyricist and singer-songwriter, who not only protests<br />

but also incriminates what is happening in Nicaragua, or rather Latin America, using the rhythmic<br />

roots of his origin, without overlooking the ability to describe love in different universes.<br />

Perrozompopo is Nicaraguan slang for “urban lizard”. Ninth Mutable is the evolution of the artist<br />

around the world towards the center of his inspiration.<br />

Andres Pineda<br />

Musician, poet.<br />

Noveno Mutable // Ninth Mutable<br />

Released by <strong>Red</strong> Press in Denmark, Fall of 2023<br />



POETRY<br />

The Agoraphobe<br />

Starved of solar fuel,<br />

her dark-leafed jasmine<br />

reserves its fragrant bloom.<br />

Interred alive within four walls,<br />

her silvern eyes<br />

recoil from well-remembered spears<br />

of a stranger’s acuminate glance.<br />

Unpigmented and unexposed,<br />

her alabaster skin clings<br />

to its play structure<br />

of bone and sinew.<br />

Enclosed, she is protected<br />

by a glutinous cocoon.<br />

Recalling Icarus, she tucks downy wings away<br />

shunning cold adventure in the clouds.<br />

Mukund Gnanadesikan is the author of the 2020 novel Errors of Omission (Adelaide Books),<br />

the 2023 children’s picture book Clarence and Elroy (Pen-It Publications) and the 2023 poetry<br />

chapbook “Petit Morts: Meditations on Love and Death”, Finishing Line Press. When not<br />

composing poetry and prose, he practices medicine in California.<br />


Talking Myself Out of Urban Decay<br />

city buildings scraping<br />

the undersides of my eyelids<br />

the woods just don’t contain<br />

me like they used to<br />

a Giant Eagle<br />

a Costco<br />

this is the real jungle<br />

where a bloody baby<br />

carriage isn’t the strangest<br />

thing you see on W. 130th<br />

towering sequoia used to be my sentient counselors<br />

mountains used to be my topographical therapists<br />

now I get excited<br />

when the mail<br />

arrives when it’s<br />

supposed to because<br />

it means new words in a world where<br />

syllables only pass in angry looks from driver to driver<br />

Chad W. Lutz is a speedy, bipolar writer born in Akron, Ohio, in 1986, and raised in the neighboring<br />

suburb of Stow. Their first book, For the Time Being (2020), is currently available through J.New<br />

Books. Other recent works appear in Haunted Waters Press, Drunk Monkeys, Half and One, and<br />

Hunger Mountain Review.<br />


POETRY<br />

LAW<br />

Lit windows full of eyes<br />

Obsessive, yellow-edged.<br />

A pen endlessly paces<br />

On surfaces of Law.<br />

Someone mourns his breasts.<br />

Tall light drips out of houses.<br />

He plays young painful music<br />

And gnaws his inner lip.<br />

A dome of fiery gold:<br />

Beneath the dome a frown,<br />

Beneath the frown a tongue<br />

Chastising and correcting—<br />

“Our forces are in muster<br />

On endless fields of stars.”<br />

Smiling, the seekers ride<br />

In gaudy chariots.<br />

The pen with a jolt like lightning<br />

Batters a human form.<br />

Their God despises His image.<br />

Start again, clean.<br />

Zachary Cohn is a poet and playwright. He lives in the New York<br />

metropolitan area.<br />


All of Us Enthralled<br />

Waves of love<br />

Rolling out from me<br />

Cascading towards you<br />

Flowing back<br />

Hitting me in the chest<br />

With such force it knocks me to the ground.<br />

I know that what we have is unusual<br />

The three of us.<br />

Polyamory.<br />

A heavy and unwieldy word.<br />

Oddly scientific.<br />

Belying the power and passion<br />

Required for such an effort.<br />

But not just that.<br />

It takes a lot of communication<br />

And an open mind.<br />

An almost saintly level of trust<br />

But how lucky am I, to have the two of you?<br />

How profoundly worth it,<br />

My wife, my beautiful, effervescent, darling wife<br />

So utterly divine<br />

And<br />

My muse, so strong and capable, a wild masculinity<br />

An irresistible flame.<br />

I am sorry, that not everyone understands<br />

That this is -often- a secret we have to keep.<br />

That such beauty must stay hidden away<br />

Like diamonds deep underground.<br />

One day, things will be better.<br />

One day, people will understand.<br />

Holly Payne-Strange (She/her) She is the author of Strange And Twisted Things, a newly released<br />

horror novel. Her poetry has appeared in Doro is jar Magazine and Curating Athena, among<br />

others. She is also the creator of the podcast Echoes, starring Broadway Star Adam Pascal and<br />

Emmy Award winner Jackée Harry.<br />


POETRY<br />

Build a Better World (for George Floyd)<br />

We watched his last breath.<br />

Words alone cannot solve this.<br />

Breathe – prepare to act.<br />

John Peter Beck is a professor in the labor education program at Michigan<br />

State University where he co-directs a program that focuses on labor history<br />

and the culture of the workplace, Our Daily Work/Our Daily Lives. His poetry has<br />

been published in a number of journals including The Seattle Review, Another<br />

Chicago Magazine, The Louisville Review and Passages North among others.<br />


Some Definitions Courtesy of the Ohio Legislature<br />

Charles Malone works with writers in the community around Kent, OH. He recently won the<br />

Moonstone Arts Chapbook prize for his poems “After an Eclipse of Moths.” His full-length<br />

collection “Working Hypothesis” is out with Finishing Line Press.<br />


POETRY<br />

Immigration Process<br />

Sometimes my tongue fails<br />

to separate one language<br />

from the next: a word slips,<br />

an accent forms, a sentence<br />

stumbles into nothingness.<br />

All of this a sign that the door<br />

to my knowledge is torn<br />

with the bullet holes<br />

of memory. And my memory<br />

falls as my knowledge<br />

bleeds. My throat coughs<br />

up a mist that covers<br />

what I see, what I remember.<br />

I dream less often every night<br />

but when I do, it’s always not here.<br />

Perhaps I’ve lived in between<br />

borders for far too long—<br />

my family and relatives<br />

buried in one too many<br />

countries. Like my ancestors,<br />

I too have roamed the lands<br />

to find my home. Someday,<br />

I will find a place to call<br />

my own.<br />

Jeddie Sophronius is the author of Love & Sambal (The Word Works,<br />

2024) and Blood·Letting. A Chinese-Indonesian writer from Jakarta, he<br />

received his MFA from the University of Virginia, where he served as the<br />

editor of Meridian. Their poems have appeared in The Cincinnati Review,<br />

The Iowa Review, Prairie Schooner, and elsewhere.<br />



Check out the not-often-seen behind the<br />

scenes at Husets Biograf. Surrounded<br />

by reels and posters of films, this little<br />

corner above the cinema was the base<br />

of control throughout our festival. Our<br />

gratitude goes to the volunteers of<br />

Husets Bio, and of course to Jack, for this<br />

wonderful collaboration, and for 2 years<br />

of a poetry film festival in the oldest,<br />

prettiest independent cinema of CPH.<br />

Canadian poet Patrick Horner not only<br />

read from his wonderful new book<br />

REFUGIA, but also served as a judge for<br />

this year’s festival.<br />

Pablo Saborio, poetry editor of <strong>Red</strong><br />

<strong>Door</strong> and judge for this year’s festival,<br />

as well as charming co-host, introduces<br />

Cuban poet Jorge Enrique Gonzalez<br />

Pachecho, who traveled from Madrid to<br />

share his poetry on stage, as well as the<br />

film HAVANA, which was inspired by his<br />

poem with the same name.<br />

...I repeat, a poetry film festival in the<br />

oldest, prettiest independent cinema of<br />

Copenhagen.<br />


Actor and director Ramadan Huseini<br />

gave a talk about the film-making<br />

process of PANT, a beautiful film that<br />

brought us back to our city, speaking<br />

of the struggles and daily lives of can<br />

collectors living and working in the<br />

streets of Copenhagen, their families,<br />

and their dreams.<br />

The scholar, poet and literary translator<br />

Elzbieta Wojcik-Leese reads from her<br />

own wriings, and welcomes the students<br />

of her Creative Writing class at the<br />

University of Copenhagen, who joined<br />

us throughout the festival.<br />



LEAVE<br />

YOUR<br />

POEM<br />

AFTER<br />

THE<br />

TONE.<br />

The dream has always been, to have a type<br />

of traveling device, which would allow for the<br />

collection of poetry in the voice of its poets, wherever<br />

a representative of the Poetic Phonotheque was<br />

in movement, and for the rest of the time, for it to<br />

be at the headquarters of the Phonotheque in its<br />

respective countries.<br />

The dream is now a reality. Look for the red<br />

FONOTEK in Sweden, Finland and Copenhagen,<br />

starting in 2024, and in all the events where the<br />

Poetic Phonotheque is present... now all you gotta<br />

do is pickup that handset, and leave your poem<br />

after the tone.<br />





TIBAR<br />

In the context of the Capitalocene, our<br />

language ecosystems are being threatened<br />

and meanings are disappearing, as well as<br />

the illusionistic joints of a tribar.<br />

Directed by Paul Burcia<br />

Romania<br />


What happens when women become<br />

more isolated as they grow older? How do<br />

they feel when they see the environment<br />

around them ravaged, and their means of<br />

resistance closed down?<br />

Directed by Gaele Sobott<br />

Australia<br />


a cinepoem in one act; it takes place inside<br />

a prison while a revolution is being waged<br />

outside. The central question of the piece<br />

centers on the place of pacifism in the face<br />

of the oppressive brutality and injustice of<br />

a cruel system, one which favors force over<br />

words.<br />

Maria Garcia Teutsch<br />

Germany<br />


To celebrate the 400th anniversary of<br />

the death of Anne Hathaway in summer<br />

2023, this poem was commissioned for<br />

publication by the Shakespeare Birthplace<br />

Trust. The composite personality of the<br />

faithful and apprehensive Anne references<br />

a range of Shakespeare’s female characters<br />

as well as Tudor Royalty .<br />

Directed Suzie Hana<br />

United Kingdom<br />




Through the lens of an outsider estranged<br />

from urban life, ‘Bubble Hat’ is an evocative<br />

poetry film that delves into the sense of<br />

alienation birthed from the frantic hustle of<br />

an automated, fast-paced culture. Directed<br />

by Maryam Imogen Ghouth and Kama<br />

Ranaulo, filmed by Zuhair Lokhandwala,<br />

and written and narrated by Maryam Imogen<br />

Ghouth, this collaborative piece was shot<br />

between the City of Dubai and the Sulphate<br />

trailhead in the United Arab Emirates.<br />


A film inspired by Jane Lovell’s poem<br />

Blame the Fox, a response to the everincreasing<br />

extinctions among bird species.<br />

This poem won first prize in the Rialto<br />

Nature & Place Poetry Award 2022.<br />

Directed by<br />

Janet Lees<br />

United Kingdom<br />


A short film of videopoetry based on “A<br />

Salty Poem” by the Bulgarian poetess<br />

Kamelia Kondova.<br />

Director Damian Mihaylov<br />

Bulgaria<br />

SEE is about a boy who doesn’t feel well<br />

in the dirty and poluted world around<br />

him. He decides to jump on his bike. His<br />

journey ends up in France, just like Vincent<br />

van Gogh. Where he starts seeing the true<br />

colors of Earth and starts painting on his<br />

iPad.<br />

Directed by<br />

Johan Oudshoorn<br />

Netherlands<br />



At the end of the horizon a singing cicada<br />

is born. Its flying is short, yet its chanting is<br />

eternal.<br />

Directed by Fernanda Caicedo<br />

Ecuador<br />

MACHI<br />

Machi, which means ‘Fish’, follows a small<br />

group from a Tharu household carrying out<br />

their traditional practices 2 days before the<br />

start of the Maghi festival. Unfortunately their<br />

fishing expedition yields a very poor catch ,<br />

reflected in the poem by Sangita Guruwa,<br />

who describes how the once plentiful fish<br />

stocks have now become scarce.<br />

Directed by Eoghan McDonaugh<br />

Nepal<br />

UN/WRITE<br />

An erasure poem that teeters on<br />

obliteration, but ultimately veers back from<br />

the brink to reclaim creativity, inspiration,<br />

wonder and delight.<br />

Directed by<br />

Fiona Tinwei Lam, Lara Renaud<br />

Canada<br />

IT FELL<br />

A video poem about exploring lines,<br />

memory, repetition, word, and image, in<br />

different ways, with snow as the main<br />

character.<br />

Directed by<br />

Kevin McLellan<br />

United States<br />






In their own words:<br />

“Our goal is to tell our stories, from<br />

our perspectives, in our way. We<br />

do it for us and for the generations<br />

to come. We strive to build<br />

networks within the community<br />

and facilitate exchange and<br />

dialogue, reclaiming the past<br />

while focusing on the future. We<br />

aim to build bridges and work<br />

in solidarity with artists from the<br />

Global South and First Nation<br />

peoples.<br />

The Southnord team, much like<br />

the community of artists and<br />

curators of the African diasporan<br />

in the Nordics, is a heterogenous<br />

group. We value this diversity and<br />

wealth of different backgrounds<br />

and experiences. We cherish<br />

the multiplicity of voices and<br />

perspectives, and are constantly<br />

working for an inclusive<br />

environment.”<br />

032<br />

Morgon sång by Muriel Makhathini.

This October, in Stockholm, Southnord x Det Poetiske Fonotek<br />

presented a poetry evening with a screening of a selection<br />

of short poetry films at Klarabiografen, followed by a reading<br />

on site. This was part of a greater curated series of events,<br />

exhibition and publication to highlight the voices and work<br />

of the artists, writers, filmmakers and activists of the African<br />

diaspora residing in the Nordic region.<br />

Below the list of selected contributions, Afro-Nordic artists, who<br />

also joined us on stage to speak of their creative processes,<br />

artistic messages, and the ways their work connects them to<br />

their history, identity and community:<br />

Deise Faria Nunes (NO) - SARA<br />

Ehimwenma Idehen (UK) - Learn To Swim<br />

Genet Solomon (SE) - Postminne<br />

John-Paul Zaccarini (SE) - The Pass<br />

Marque Gilmore (SE) - Liquid Stone Libations<br />

Nasra (CA) - Shea<br />

Nontokozo Tshabalala (SE) - Onde A Luta Termina (Where the<br />

Struggle Ends)<br />

Obaro Ejimiwe (UK) - Rumours on the Wind<br />

Ondiso Madete (FI) - The Unfinished Story: Makena and Ondi<br />

Sandy Harry Ceesay (SE) - Because/Unresolved<br />

Ziggy Liukko-Allen (FI) - Water<br />

Many thanks to Marcia Harvey Isaksson for the invitation, to<br />

the directors, poets and artists who joined us, and to South.<br />

Nord for this collaboration and wonderful event.<br />

Visit www.southnord.com to learn more.<br />


The <strong>Red</strong> <strong>Door</strong><br />

Network:<br />

<strong>Red</strong> <strong>Door</strong> Magazine is a quarterly Arts &<br />

Culture publication meant to document<br />

the work of creators everywhere, as<br />

well as facilitate new conversations on<br />

important matters for our communities<br />

in a local and international way, through<br />

the linking of themes, collaborations,<br />

interviews and hybrid events that can<br />

expand the reach of independent voices<br />

and remarkable projects. <strong>Red</strong> <strong>Door</strong><br />

counts with the help of correspondents<br />

in Australia, Mexico, the US and Denmark.<br />

<strong>Red</strong> <strong>Door</strong> also functions as a gallery<br />

and independent space in order to serve<br />

as a platform for the same purposes.<br />

In expanding its reach, <strong>Red</strong> <strong>Door</strong> also<br />

counts with:<br />

-A podcast called the <strong>Red</strong> Transmissions,<br />

where creatives, activists and cultural<br />

organizers share their process, projects<br />

and initiatives.<br />

-A Poetic Phonotheque, which serves<br />

as an online collection of poetry in many<br />

languages in the voice of its authors, created<br />

to break the barriers of distance and<br />

facilitate free access to poetry in households<br />

around the world.<br />

-An independent print project called<br />

<strong>Red</strong> Press, which focuses on the publication<br />

of poetry (and illustration) in translation.<br />

Bilingual books, handmade, limited<br />

edition books.<br />

-The <strong>Red</strong> <strong>Door</strong> Gallery located in the cultural<br />

hub of Copenhagen on Møllegade,<br />

Nørrebro, where talks, workshops, exhibitions,<br />

performances and other events<br />

are often on the calendar, as well as limited<br />

edition books and prints, original<br />

art, miniature books and other art related<br />

products, often with a focus on poetry.<br />

See them also on the online shop:<br />

www.reddoormagazine.com/shop<br />

The Partners:<br />

Litteraturcentrum<br />

KVU:<br />

Litteraturcentrum KVU is an international<br />

literary initiative we often promote as<br />

a league of publishers in Scandinavia.<br />

<strong>Red</strong> <strong>Door</strong> is published through this<br />

collaboration.<br />

Kultivera operates international cultural<br />

programs that are physical, social and<br />

creative; that stimulates and inspires both<br />

the artists and the local community. It is<br />

the organization in charge of the Tranås<br />

Fringe Festival and their curriculum of<br />

activities can be seen on the issues of<br />

the <strong>Red</strong> <strong>Door</strong> Magazine.<br />

Write4Word: Is a West Wales community<br />

organization with a focus on language<br />

arts. Its director, Dominic Williams, is a<br />

frequent correspondent of <strong>Red</strong> <strong>Door</strong>.<br />

La Libélula Vaga: is a spanish literary<br />

magazine published in Sweden<br />

documenting the work of poets all<br />

over the planet, as well as encouraging<br />

translations, talks and other<br />

collaborations.<br />


HEAR HEAR! In celebration of <strong>Red</strong> <strong>Door</strong><br />

Magazine’s 15 year anniversary coming up<br />

in 2024, we’ve decided to launch a brand<br />

new PATREON, exclusively for <strong>Red</strong> <strong>Door</strong><br />

related shenanigans.<br />

Want to get a subscription of the<br />

magazine to your door?<br />

Easy peasy. Visit www.patreon.com/<br />

reddoor and choose the tier to the left...<br />

then just add your address.<br />

Want to show your support of <strong>Red</strong> <strong>Door</strong><br />

events, festivals, publications and other<br />

poetic endeavours?<br />

Well, sign up to Patreon and show some<br />

love!<br />

Are you more of an entrepreneur, cultural<br />

organizer or business owner, who’d like to<br />

have <strong>Red</strong> <strong>Door</strong> as part of your repertoir?<br />

We now offer a Magazine Distribution tier<br />

level, with which you’ll receive not just the<br />

magazines for you to sell, but also stickers,<br />

books, and other goodies, to make your<br />

shop look extra spiffy.<br />

<strong>Red</strong> <strong>Door</strong>, in simple terms, is a love<br />

project. A DiY magazine / gallery / umbrella<br />

for other projects / platform for your voice...<br />

We do not receive grants nor support from<br />

any institutions, so it only makes sense to<br />

ask you today to give your helping hand<br />

and help keep this project going...<br />

The income earned always goes<br />

to domains, print and other bills,<br />

such as rent, water and heat<br />

at the gallery... and of course<br />

materials for the continuation<br />

of artistic projects<br />

both in print<br />

and digitally.<br />

035<br />



036<br />

It’s a very grey autumn afternoon and the<br />

sunset is being hidden from the car’s wing<br />

mirrors by driving Welsh rain. The motorway<br />

is blurred by windscreen wipers as I head<br />

towards the nation’s capital. Next to me in<br />

the passenger seat sits Jonas Svensson,<br />

Swedish artist, whose impatient long legs<br />

are tucked up in the foot well. I have told<br />

him he is welcome to smoke in the car, but<br />

I can tell he is embarrassed to ask if it’s time<br />

to roll another one or whether we should<br />

pull over at another service station. I have<br />

rare cause to travel from rural West Wales<br />

where I live and work to Cardiff, but today it<br />

is a journey to collect another Swedish artist,<br />

Karl Larsson who is in the process of making<br />

the 16-hour trek by plane, train, tube and<br />

train with which I am very familiar because<br />

of my own creative and cultural visits from<br />

my Celtic home to Scandinavia.<br />

We arrive at central station at 5pm just<br />

as the city commuters are about to begin<br />

building their snaking, emission spluttering<br />

convoys up the south-east valleys into the<br />

South Wales coalfield. Karl has already<br />

disembarked and has found his way out of<br />

the front of the station to the BBC building.<br />

We are late. Jonas has finished hanging his<br />

exhibition in Greenspace Gallery, but I am<br />

still way behind with my preparations for the<br />

festival that begins tomorrow. I have a zoom<br />

meeting at 5pm, that AGM of the national<br />

body Disability Arts Cymru and the carpark<br />

is at the rear of the station. I give Jonas<br />

rough directions as to how to get under the<br />

black iron railway bridge that spans Penarth<br />

Road adorned with the name ‘Brains Beers’<br />

the city’s brewery and send him in search of<br />

his fellow creative countryman.<br />

The business of the AGM is dealt with<br />

swiftly, agendas can be got through so<br />

much quicker when the members are<br />

online. As the rush hours traffic melts away<br />

in the drizzling rain, Jonas and Karl sit on<br />

suitcases between parked vehicles in the<br />

dampness while I watch three excellent<br />

performances by disabled artists on my<br />

phone, propped landscape in front of a<br />

redundant speedometer just behind the<br />

steering wheel. Spoken word, dance and<br />

music, all are powerful and inspirational.<br />

With both my passengers on board we<br />

resume the journey north up the Taff valley<br />

towards Pontypridd a town dealing with the<br />

painful transition and challenges following<br />

colliery closures and deindustrialisation, At<br />

the same time my friend, Steve, is waiting<br />

at Cardiff International Airport for poets<br />

Colm Kiernan and Magnus Grehn, they<br />

have travelled from Sweden via Amsterdam<br />

where their plane was delayed for 45<br />

minutes. We are all making our way to meet<br />

Rufus Mufasa, a literary activist who works<br />

at, YMa a re-imagining of the Pontrypridd<br />

YMCA building. When we arrive at YMa<br />

I meet up with old friends with whom I<br />

have performed together during outdoor<br />

summer festivals and by the time the kickboxing<br />

class has vacated the room in which<br />

we are due to hold tonight’s cultural event<br />

Steve, Colm and Magnus have also arrived.<br />

Once Karl and Magnus have been reunited,<br />

they become Två män i en dambob and<br />

the evenings cultural collision is set on its<br />

course.<br />

***<br />

I am director of the Coracle Europe Fringe,<br />

an international arts festival that takes place<br />

in West Wales. I was approached by Rufus<br />

Mufasa to collaborate on a pre-festival<br />

event in Pontypridd involving some of the<br />

Swedish artists that has arrived on Wales a<br />

day early for the festival. The event in YMa<br />

on the evening on Wednesday 11 October<br />

was one of the personal highlights of my<br />

entire festival experience. The programme<br />

included Welsh duo Bragod and Swedish<br />

duo Två män i en dambob the juxtaposition<br />

of two distinct musical genres, Welsh folk<br />

and Swedish industrial post-punk, was<br />

innovative and exciting. The ostensible<br />

cultural clash of two experimental acts<br />

in fact shared commonalities. Both were<br />

contemporary interpretations of traditional<br />

songs, in the Swedish instance 100 years<br />

old and in the Welsh instance 900 years old.<br />

These two significant performances were<br />

complemented by a series of diverse<br />

multilingual poetry readings. The complete<br />

programme of the event was worthy of<br />

presentation on the stage of an arts centre<br />

in any major European city.

Just as important, if not more so, was the<br />

outreach work that followed the event, the<br />

musicians, writers and artists from Sweden<br />

met socially at another local venue with the<br />

grassroots performative creative community<br />

of Pontypridd. During further sharing of<br />

performance local people became aware of<br />

and intrigued by the programme of creative<br />

events taking place in YMa.<br />

***<br />

So it was, this slowly gathering troupe of<br />

Welsh Irish and Swedish artists writers and<br />

musicians found ourselves being finally<br />

ushered out of Bar #12 at midnight after<br />

a post-event assignation at a local openmic<br />

night for singer songwriters. The<br />

journey West was begun, to the setting for<br />

the Coracle Europe Fringe. We arrived at<br />

Glan y Fferi at 2 in the morning, the small<br />

fishing village that is my home and was to<br />

be the home of the group of performers<br />

that would form the programme of the fiveday<br />

international arts festival that hadn’t yet<br />

even started, that was for tomorrow …<br />

***<br />

The Coracle Europe Fringe was an<br />

international arts festival that took place in<br />

west Wales between Thursday 12 October<br />

2023 and Monday 16 October 2023. The<br />

programme featured music, art literature<br />

and performance. Hosted by write4word<br />

the festival championed their values of<br />

inclusivity and internationalism. The festival<br />

was in a hybrid format. All events were<br />

in-person with many live-streamed on<br />

YouTube and participatory events such as<br />

a poetry slam and open-mic taking place<br />

over zoom as well as in the physical venues.<br />

Some events also had simultaneous BSL<br />

sign interpretation. Venues include Cwrw,<br />

Goldstone Books, Tea Traders, Cellar Bar,<br />

Calon y Fferi, Greenspace gallery. Through<br />

its hybrid nature the festival provided a<br />

global platform for local and Welsh artists as<br />

well as welcoming a cohort of international<br />

performers to west Wales. The festival<br />

particularly celebrated the established<br />

cultural links write4word has with Sweden<br />

and Ireland. The festival featured 4<br />

workshops, an art exhibition, three spoken<br />

word open-mics, a poetry slam, three live<br />

bands, 4 reading events (with 21 poets) a<br />

performance lecture and a literary walk.<br />


038<br />



040<br />


From 1 July to 8 July 2023, Tranås at the Fringe was<br />

held for the tenth year and this year it was bigger than<br />

ever with 151 events on 7 stages with performers<br />

from 28 countries. A special treat for the audience<br />

this year was the Mycelium festival that kicked off<br />

on Friday, the day before the official opening of the<br />

festival. The organisers were young Ukrainian artists<br />

living in Sweden on crisis residency. Mycelium went<br />

on for three days under the open sky and included<br />

music, dance, performances, exhibitions and much<br />

more. A festival within a festival, so to speak.<br />

As for the main festival itself, the Fringe offered, as<br />

usual, a wide variety of events. There was the film<br />

section of the festival, with 10 screenings including<br />

48 experimental short films. There were more than<br />

60 poets doing everything from performing on stage<br />

to launching books. For a week the festival offered<br />

a multitude of events spanning the entire artistic<br />

spectrum; literature, film, theatre, performing arts,<br />

exhibitions, dance and music. The audience could<br />

walk between the stages, choosing everything from<br />

quiet haiku to noisy industrial music. Maybe listen to<br />

a writer’s talk, watch performances, browse books<br />

at the micro publishers book fair or take part in a<br />

workshop.<br />

Three publishers hosted separate events where<br />

poets from each publisher performed; Fri Press,<br />

Trombone and Magnus Grehn Förlag. The dance<br />

company COMPASS held several events aimed at<br />

young dancers. There are so many more to mention<br />

but it’s impossible to list all the events. However,<br />

one could argue that the festival had something for<br />

everyone. For instance, how many art festivals end<br />

with a sold-out punk gig? Talk about going out with a<br />

bang. Tranås at the Fringe 2023 was a huge success.<br />

See ya next year!<br />

-The people of Tranås at the Fringe<br />





On October 14, 2023 Australians were asked<br />

to vote in a referendum whether they support<br />

changing the Australian Constitution to<br />

recognise Aboriginal and Torres Strait Islander<br />

peoples as the First Peoples of Australia through<br />

an Aboriginal and Torres Strait Islander Voice<br />

(Voice).<br />

The Voice was proposed to be an enduring<br />

institution to ensure that Aboriginal and Torres<br />

Strait Islander peoples can make representations<br />

to the Commonwealth Parliament and the<br />

Executive Government of the Commonwealth<br />

on matters that relate to them, improving the<br />

development and implementation of laws and<br />

policies.<br />

The Voice is also the first part of a deeper<br />

commitment made by recent Government,<br />

much of which is why they were elected, that<br />

they would implement the Uluru Statement<br />

From The Heart …<br />

The Uluru Statement From The Heart … has 3<br />

parts to action … Voice ~ Treaty ~ Truth Telling ~<br />

~ to recognise Aboriginal and Torres Strait<br />

Islander peoples as the First Peoples of Australia<br />

~ to provide for the establishment of a new<br />

constitutional entity called the Aboriginal and<br />

Torres Strait Islander Voice<br />

~ to set out the core representation-making<br />

function of the Voice; and<br />

~ to confer upon the Parliament legislative<br />

power to make laws with respect to matters<br />

relating to the Voice, including its composition,<br />

functions, powers and procedures.<br />


However … The Voice is advisory body only. It<br />

has no power.<br />

“The constitutional amendment confers no<br />

power on the Voice to prevent, delay or veto<br />

decisions of the Parliament or the Executive<br />

Government.<br />

The constitutional amendment would not oblige<br />

the Parliament or the Executive Government to<br />

consult the Voice prior to enacting, amending<br />

or repealing any law, making a decision, or<br />

taking any other action.” (General purpose<br />

of Bill https://www.legislation.gov.au/Details/<br />

C2023B00060/Explanatory%20Memorandum/<br />

Text)<br />

So … Im asking why does the Government need<br />

this Voice to enshrine recognition of Aboriginal<br />

+ First Nations people in the Constitution? Is it<br />

not a given? Should this recognition not be a<br />

stand alone bill regardless??<br />

As it is too long to unpack in this article, You can<br />

read the full statement here …<br />

https://ulurustatement.org/the-statement/viewthe-statement/<br />

The proposed parliamentary bill proposed a<br />

new section of The Constitution to be named<br />

‘Recognition Of Aboriginal And Torres Strait<br />

Islander Voice’ added at the end of the existing<br />

chapters.<br />

The section to be titled ‘Aboriginal And Torres<br />

Strait Islander Voice’ would have 4 key points …<br />

042<br />

Why only recognition aside with this new<br />

proposed voice with no power attached,<br />

which frankly we have already had advisory<br />

committees before without any power.<br />

It doesnt make sense loading 2 separate issues<br />

together into one huge question requiring a Yes<br />

or No answer.<br />

Certainly without the truth telling …<br />

Setting the history straight. Most Australians still<br />

dont know the true history, school curriculums<br />

have never included it.<br />

The main question I was pondering in this Neon<br />

Rebellion is …

Is The Voice as its being presented right now,<br />

the vehicle in which we will see the way forward<br />

for the fundamental changes needed for the<br />

recognition + welfare of First Nations People to<br />

be implemented?<br />

Many Australians seem generally in favour<br />

of recognising Aboriginal + Torres Straight<br />

Islander People as the original owners +<br />

custodians of this country. The polls have<br />

shown that many people were will ing to<br />

recognise Aboriginal people in the constitution<br />

but the Voice itself was too vague.<br />

There is much skepticism in Aboriginal<br />

communities based on history, as to whether<br />

the Government actually has their best interests<br />

at heart + rightly so … There really was no<br />

outline how we could see reparations for the<br />

injustices they endured + see the quality of life<br />

for our First nations elevated + improved so that<br />

they may move towards self determination.<br />

“More now than ever the Black Advocacy being<br />

able to be shared via all media is at the most<br />

powerful moment in history.<br />

The people that have the most power are those<br />

that have proximity to power + Government or<br />

money. For better or worse,<br />

Community + mob at grass roots level need<br />

representation + a platform with strong speakers<br />

… Whether the Voice is the right model, that is<br />

what lies before us ...” (Larisa Baldwin – Roberts,<br />

CEO GetUP)<br />

There’s a reluctancy even within well educated<br />

Indigenous advocacy groups + most certainly<br />

among the Blak Sovereignty mob, so how are<br />

the public supposed to engage with all the<br />

mixed messaging clearly?<br />

The referendum votes came in a resounding<br />

NO vote.<br />

The Voice was not successfully passed in the<br />

referendum …<br />

So will this Government, so committed to the<br />

Yes campaign + its results still be willing to pass<br />

legislations necessary for change anyway?<br />

These are reasons people were hesitant though<br />

+ the polls were overwhelmingly unfavourable<br />

for the Yes campaign, both in overall majority +<br />

majority of states, which were both needed for<br />

this referendum to pass.<br />

Looking back at the 3 parts of The Uluru<br />

Statement From The Heart, our Prime Minister<br />

has not mentioned “Treaty” + has adamantly<br />

steered away from it. <strong>Red</strong> Flag.<br />

There has also been no truth -telling.<br />

The integral part of Australians understanding<br />

the horrific history + coming to terms with the<br />

inherent racism in the culture.<br />

The Govt. was advised by current Aboriginal<br />

members of Parliament + other Aboriginal<br />

advisory groups, that this step needs to be<br />

done thoroughly before we are going to be<br />

able to truly recognise Aboriginal people in the<br />

constitution.<br />

To be honest, I find it incredibly problematic<br />

non- Aboriginal people have any right to vote<br />

on the future of Aboriginal or Torres Straight<br />

Islander people. It’s their business.<br />

At least this question could have been asked of<br />

the 3% (just Aboriginal population) first.<br />

Back in 1967, Australians voted<br />

overwhelmingly to amend the Constitution<br />

to allow the Commonwealth to make laws for<br />

Aboriginal+ Torres Straight Islander people and<br />

include them in the Census of Population and<br />

Housing conducted by the Australian Bureau of<br />

Statistics, commencing with the 1971 Census.<br />

More than 50 years have passed + there are<br />

some glaring echoes in what’s happening<br />

today some history ...<br />


1967 : Millions of Australians endorsed these<br />

amendments, in the highest ever vote in our<br />

history, believing them to be a step towards<br />

ending the decades of political and social<br />

discrimination imposed on Aboriginal people.<br />

People with good intentions hoping that justice<br />

+ fairness would be given to our First Nations<br />

People.<br />

1972 : The Whitlam Era Government promises<br />

“It’s time” in their election campaign.<br />

They create the first Department of Aboriginal<br />

Affairs (DAA), set up a land rights commission,<br />

and froze uranium mining in the Northern<br />

Territory.<br />

1975 : NT Land Rights Act was legislated<br />

through Parliament. The laws set a benchmark.<br />

1982 : Susan Ryan Shadow Indigenous Affairs<br />

Minister promises an elected Hawke Govt. would<br />

introduce a national land rights legislation.<br />

1983: Hawke Govt. Aboriginal Affairs Minister<br />

Clyde Holding promised that the views of<br />

Aboriginal people would be at the heart of the<br />

land rights process. His land rights steering<br />

committee included the Chair and Deputy<br />

of the National Aboriginal Conference (NAC)<br />

and its six state and territory representatives,<br />

the Northern and Central Land Councils, and<br />

Charles Perkins, the Aboriginal Chair of the<br />

Aboriginal Development Commission (ADC).<br />

Dec 1983 Holding told parliament that the<br />

support of NAC, which he described as a<br />

“democratically elected black parliament”<br />

would be obtained before any legislation was<br />

brought to parliament.<br />

1984. Draft land rights legislation was so weak<br />

that it had no support from any Aboriginal<br />

organisations.<br />

No national law was preferable to what Hawke<br />

was proposing. The laws explicitly rejected<br />

the demands of Aboriginal people. Crown<br />

land would not automatically be claimable<br />

as Aboriginal land. National Parks wouldn’t<br />

become Aboriginal land without “prima-facie<br />

evidence of traditional attachment”, and there<br />

would be no compensation for lost land.<br />

A hard-line racist campaign against land rights<br />

was being run by the peak mining body, the<br />

Australian Mining Industry Council (AMIC),<br />

supported by the Western Australian Labor<br />

government.<br />

Hawke tried to justify the terrible watered down<br />

promises by saying it only exacerbated the<br />

racist fear-mongering campaign by the mining<br />

industry.<br />

1987 : In response to the actual betrayal<br />

of promises, Hawke talks of “national<br />

reconciliation.”<br />

He also disbands many of the Aboriginal<br />

organisations that opposed his weak land rights<br />

sell outs.<br />

He moved to finish the DAA and the Aboriginal<br />

Development Council (ADC) + moved to create a<br />

new body—the Aboriginal Torres Strait Islander<br />

Commission (ATSIC).<br />

1989 : The ATSIC, which was almost powerless<br />

was opposed when Paul Keating (the new PM)<br />

moved to undermine it by setting up the rival<br />

Office of Indigenous Affairs within his Prime<br />

Ministers and Cabinet Department.<br />

1991 : The Council for Aboriginal Reconciliation<br />

is launched.<br />

ATSIC attempted to ensure that a Treaty was at<br />

the heart of the Reconciliation process.<br />

Hawke + Keating move to push “reconciliation<br />

process rather than treaty.”<br />

1992 : Mabo case. The High Court ends the lie<br />

of ‘terra nullius’ (an empty land). It recognises<br />

Eddie Mabo’s land ownership.<br />

As well as recognising native title, the court<br />

also recognised the Australian government’s<br />

sovereignty. Native title was extinguished by<br />

freehold title and limited by the grant of other<br />

forms of leases.<br />

1993: Hawke + Keating move to push<br />

“reconciliation process rather than treaty.”<br />

1993 : Native Title Act propels the Land Rights<br />

Movement.<br />


It pointed at the very legitimacy of Australian<br />

capitalism and its foundations of genocide<br />

and dispossession. At its height the Land<br />

Rights movement fought for land as an act of<br />

recognition of prior ownership and of the wrongs<br />

inflicted on Aboriginal communities. Some<br />

thought land rights could provide the basis for<br />

economic development that the Australian state<br />

had denied them.<br />

Keating’s laws entrenched the property rights<br />

of companies over stolen Aboriginal land. It<br />

offers the weakest form of recognition for the<br />

tiny percentage of Aboriginal people who can<br />

prove an unbroken connection with a particular<br />

piece of land. While a mining company might<br />

have to negotiate over access and royalties,<br />

native title holders have no right to determine<br />

what happens on land they “own”. (https://<br />

solidarity.net.au/mag/back/2010/21/hawkekeating-and-aboriginal-rights-labors-sorryhistory/<br />

2008 : By now the ATSIC has gone + a national<br />

“sorry” campaign from the new Govt. has<br />

started.<br />

But within that, there has still been no<br />

reparations for Aboriginal people or stolen<br />

lands honoured or returned.<br />

Chronic unemployment, inadequate housing,<br />

health, education and other basic services are<br />

still not met, and ongoing police brutality and<br />

deaths in custody + injustices served,<br />

with the presiding Parliamentary system +<br />

Australian Governance under the constitution,<br />

laid down by The Commonwealth, remaining in<br />

place. (cite wsws.org/en/articles)<br />

2023 : We are still here.<br />

Inquiries into all the same issues are all still<br />

current + yet Australia still cant seem to just<br />

recognise Aboriginal + Torres Strait Islander<br />

people in the Constitution without it being<br />

attached to a conditional powerless voice or<br />

group elected by the Government that by law<br />

they do not have to take any notice of.<br />

You get the gist.<br />

So many people advocating for Yes really<br />

believed it would bring change.<br />

The polls since have shown that the most<br />

percentage of Yes voters came from middle<br />

came from middle class if not affluent<br />

backgrounds, while the working class<br />

struggling tended to vote no.<br />

There is an overriding feeling that voting<br />

yes alleviates a sense of guilt over benefits of<br />

privilege + entitlement for those in the middle<br />

class.<br />

Change is overdue + people should feel a<br />

sense of responsibility.<br />

However, The constitution is still a part of a<br />

brutal capitalist system built on colonising<br />

this country.<br />

Many indigenous mob do not want to be part<br />

of that system, they want acknowledgment<br />

of their own laws + customs as the sovereign<br />

way.<br />

They want Treaty.<br />

A treaty is a binding agreement between two<br />

or more states or sovereign powers. It is usually<br />

reached after a period of negotiation. Australia<br />

is the only major Commonwealth country<br />

(referring to British settler colonial countries)<br />

in the world that does not have a treaty with its<br />

First Nations peoples.<br />

Meanwhile … theres’ also the fact that the<br />

Yes campaign, is bankrolled by multinational<br />

corporate big businesses, like Qantas, BHP,<br />

Telstra, Wesfarmers, Coles + Woolworths &<br />

mining company, Rio Tinto, along with banks<br />

ANZ, Westpac, CBA + NBA (who fund said<br />

mining operations + seek to greenwash their<br />

profiles whilst aligning themselves further<br />

with the Govt.s military operations, even at the<br />

protests of their shareholders.)<br />

Even though Rio Tinto has a strict policy they<br />

do not donate to political parties.<br />

<strong>Red</strong> flag.<br />

There is also the $17 million pledge to support<br />

the Yes campaign from 20 of Australia’s richest<br />

philanthropists and family foundations, such<br />

as Besen Foundation, Jo Horgan’s Mecca M<br />

Power, the Nelson Meers Foundation, the Lord<br />

Mayor’s Charitable Foundation ...<br />

The Business Council Of Australia has said<br />

“the Voice will facilitate ongoing dialogue and<br />

opportunity between Indigenous Australians<br />

and business.<br />


They understand how this will enhance the<br />

unlocking of potential and material economic<br />

benefit for Indigenous Australians and our<br />

nation as a whole.”<br />

So im wondering ...<br />

‘What interests has a mining company in the<br />

daily living conditions of Aboriginal people<br />

living remotely in poverty without healthcare<br />

or education suffering dispossession of their<br />

lands + tribal traditions?”<br />

None.<br />

The Australian capitalist system supported by<br />

the Constitution, parliament itself and the armed<br />

forces have none of those concerns. It is built on<br />

private ownership of land and resources, profit<br />

and production. Facts.<br />

Those that benefit from this regime are those<br />

that comply with laws set down by the system.<br />

This fundamental contradiction waves every<br />

red flag.<br />

I absolutely see why many of our First Nations<br />

people are saying No to The Voice.<br />

All the history, current conditions + proposed<br />

ideas are dubious at best.<br />

So that statistic on the Yes campaign that 80%<br />

of Aboriginal people want the Voice. Hardly<br />

representing mob all over.<br />

There are 755 communities alone just in NT.<br />

People out in remote communities in the desert<br />

need face to face contact to understand whats<br />

going on.<br />

Many people cant read english + dont have<br />

access to internet.<br />

The feeling in many remote communities was<br />

the campaigns are directed at primarily white<br />

middle class voters.<br />

Evidently information is not reaching grass<br />

roots levels + communities on the ground.<br />

I did speak to an old wise Uncle who’d learnt<br />

to transverse across cultures, he had the best<br />

advice when I asked him about what he thought<br />

…<br />

He said … “ it doesn’t matter yes or no, change<br />

is here …<br />

Even if it takes another generation.<br />

The world has been here for millions of years,<br />

this blink in time is nothing.<br />

You have to zoom out and see things in a<br />

bigger way ”<br />

The difference from any past idea would be<br />

the Voice would be a body made entirely<br />

of Indigenous Aboriginal / Torres Straight<br />

Islanders independently representing<br />

+ advising on issues, enshrined in the<br />

constitution that would take a referendum<br />

to dismantle it, + not be subject to changing<br />

Governments.<br />

I recently worked on a film job in the Northern<br />

Territory, it was very timely I got to go to the Top<br />

End now, I felt so lucky I got to go + I wanted to<br />

see for myself, right now how things are.<br />

I wanted to was ask mob personally about their<br />

experience (respectfully, if they were open) +<br />

what they thought about The Voice + hear them<br />

first hand.<br />

Honestly, no one I spoke to knew anything<br />

about it.<br />

I heard + saw story after story of hardship + of<br />

people who felt shat on + lied to over and over<br />

by our Government + the system that is not their<br />

friend.<br />

Playing the long game Uncle.<br />

Transcending the rival binary of a system that<br />

neither supports nor encourages.<br />

Just listening to the heart.<br />

Listening...<br />

The key to it all.<br />

Very wise indeed.<br />

People living in such hard conditions are just<br />

looking to feed themselves each day.<br />


Whilst the No vote underlines a horrible<br />

undertone of racism that still pervades the<br />

Australian culture, I totally feel Uncle that there<br />

is hope for change + it is here.<br />

In this time people are overloaded with their own<br />

problems + survival issues, being bombarded<br />

by social media + the threats of wars all over<br />

+ just trying to pay their ever increasing bills +<br />

get by ... Its no excuse for not being open but<br />

perhaps that’s why there was no a more positive<br />

outcome for this referendum.<br />

The Government was either naïve or stupid with<br />

their PR campaign.<br />

The brutal truth of the referendum campaign is<br />

that the Yes case could not cut through, could<br />

not articulate simply enough why something<br />

which was said to be just an advisory committee<br />

was so important that it should be put in the<br />

constitution.<br />

Social Media utterly battered them with false<br />

information + asking questions that were not<br />

answered which fuelled doubts + strengthened<br />

naysayers.<br />

To add insult to injury $360 million of taxpayer<br />

money funded the Yes campaign + that could<br />

just have easily been put into all the areas of<br />

Aboriginal justice + reform + communities so<br />

desperately needing it.<br />

Regardless of that, it is to The First Nations<br />

People that we owe yet again, our apology.<br />

Not just for not being able to simply recognise<br />

them without all the three ringed circus but also<br />

the enduring sadness + hurt this process has<br />

dredged up.<br />

I acknowledge + pay<br />

respect to the Aboriginal<br />

+ Torres Straight Islander<br />

People as the First Nations<br />

original owners + traditional<br />

custodians of Australia, the<br />

land on which I live.<br />

Always was, always will be ...<br />

References<br />

https://en.wikipedia.org/wiki/Native_title_in_<br />

Australia<br />

https://aiatsis.gov.au/explore/1967-referendum<br />

https://en.wikipedia.org/wiki/1967_Australian_<br />

referendum_(Aboriginals)<br />

https://www.yes23.com.au/<br />

https://www.abc.net.au/news/2023-<br />

03-14/aukus-nuclear-submarine-dealannounced/102087614<br />

https://www.smh.com.au/politics/federal/<br />

everything-you-need-to-know-about-the-voicereferendum-yes-case-20230828-p5e044.html<br />

https://www.wsws.org/en/articles/2023/09/25/<br />

drzf-s25.html<br />

https://www.bca.com.au/business_has_role_<br />

to_play_in_voice_debate<br />

https://www.smh.com.au/politics/federal/<br />

investors-put-heat-on-big-business-overbacking-for-voice-20230905-p5e265.html<br />

https://www.afr.com/life-and-luxury/arts-andculture/top-philanthropists-say-yes-with-17mto-support-voice-campaign-20230420-p5d1zp<br />

https://ulurustatement.org/the-voice/what-isthe-voice/<br />

https://www.legislation.gov.au/Details/<br />

C2023B00060/Explanatory%20Memorandum/<br />

Text<br />

https://solidarity.net.au/mag/back/2010/21/<br />

hawke-keating-and-aboriginal-rights-laborssorry-history/<br />




res·​o·​nance ˈre-zə-nən(t)s<br />


In celebration of the 15th anniversary of <strong>Red</strong> <strong>Door</strong> Magazine,<br />

we’ve decided to embark on a very exciting, yet challenging adventure.<br />

From October 8th to the 13th, 2024, in Copenhagen, Denmark,<br />

we will be hosting the very first RESONANS festival, a fringe of nature<br />

and culture. That is to say, a celebration of humanity’s connection with<br />

our environment, through expressions in poetry, visual art, theater,<br />

music... all with a focus on multimedia.<br />

There will be, of course, digital happenings, as well as a publication,<br />

and plenty of other collectable items<br />

for us to celebrate this occasion.<br />

We have already begun recruiting local venues for this endeavor, and<br />

our partners have already agreed to put on their fanciest suits and<br />

curate programs that represent their region in our festival, but we still<br />

need to recruit funding and sponsors to make this great thing happen.<br />

Please give your support at www.patreon.com/reddoor to give us the<br />

necessary impulse to accomplish this feat.<br />

If you have other ideas of how you’d like to get involved,<br />

please write to<br />

reddoorcph@gmail.com<br />

Meanwhile, please save the date.<br />

We look forward to celebrating with you,<br />

yes, here, in Copenhagen.<br />







WINTER 2023<br />

050<br />


Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!