The new Australian film Kid Snow begins with a boxing match that will echo through time. A loss for the titular character Kid Snow (Billy Howle) results in a crash on his way home from the fight that kills their father and cripples his boxing brother Rory (Tom Bateman).Ten years later, it’s 1971 and the Irish brothers are working in a tent boxing troupe, Rory runs it and Kid fights in it, and they both seem to have given up. “When we meet Kid he has kind of given up on life and he’s almost become like a performing animal,” says director Paul Goldman. “He is just trotted out to a tent boxing ring to punch and be punched. It’s pretty self destructive.”For those that don’t know, tent boxing was an Australian tradition going back as far as the late 19th Century up until 1971 when it was banned (although there is one still going). Tent boxing involves what the title refers to: a tent and a boxing match. Tent boxing troupes would follow agricultural shows, set up a tent and then allow any strangers to come up and challenge them to a fight - the winner taking the money.“I always wondered why no one had ever made a film about tent boxing in Australia given the enormous rich vein of folklore and mythology that surrounds it,” says Goldman.Set in the Australian Outback, one night the same man who Kid fought ten years earlier challenges him to a rematch for a large sum of money - all Kid has to do is fight and last at least three rounds. The only problem is, Kid is out of shape and his opponent is now the Commonwealth champion. The second only problem is, Rory has already accepted the fight for Kid.“He throws his brother into the lion's den, into a fight that he knows could well and truly destroy his brother’s physical life because he has to take on the Commonwealth champion. And he knows his brother is overweight and out of shape and has given up,” says Goldman.The two brothers have a very interesting relationship, it is clear that there is an intense love between them but, at the same time, also an intense hatred. Rory blames Kid for killing their father and crippling him, and Kid blames himself which means they have some sort of severed line in their relationship that never heals.This also leads to the third thread of the film which is led by the introduction of the female character Sunny played by Hollywood star Phoebe Tonkin. Sunny is a fierce character who has taken on the responsibility of caring for her young son on her own. She is hired by Rory as another attraction for the show, to dance. And she also begins a relationship with Kid.She comes between the two brothers and becomes a beacon of light for Kid, showing him a way out of the life he seems to be trapped in. The film smartly allows her her own character arc as well. She becomes a leg dancer for the troupe, but she does it on her own terms and Gladman says this was a huge focus for them as they made the film.“I’m sure for some people the scenes of her dancing will be provocative, the fact is that leg shows did exist and if you went to show alleys any time before the 80’s there were leg shows. She’s not stripping, there’s colour and movement. And I wanted her to have some sort of agency and we did a lot of work on that character to give her agency,” says Goldman.This definitely translates to the screen, and there’s a great moment where she tells a story of her step mother stripping for an audience in Sydney where a fight breaks out - and her stepmother is able to control the room with her power. Dancing is also such a great contrast to boxing. They are both ways for people to be physical and vulnerable, but also powerful. And this story about her stepmother is a great indicator for Sunny’s character - she may have to do things that she doesn’t want to to survive in this world but she is going to do these things her way, and use them to her advantage. The most interesting part of the film is the actual boxing. The interplay between the story and the sport of boxing is fascinating and impactful. It analyses the way boxers use their fights as ways of punishing themselves and this was a big theme for Goldman.“There’s moments I think in the final fight where it looks like Kid is almost willing to be punched. We know that's the history of boxing. Why does someone climb into the ring? Well it’s not simply to punish someone else, it’s actually to be punished. It’s a very very complex relationship that people have with that sport,” says Goldman.“I spent many many months, when I was living in Sydney, going to the Redfern gym watching Tony Mundine prepare for a fight - I just remember how often I would see him sitting in the corner after sparring for an hour and wondering to myself - why would you do this to yourself? What is it in your heart and soul that allows yourself to be punished like that? “And I think in the film Kid is self-destructive and he’s just lacerating himself until this woman walks in and says, You don’t even know what you're fighting for or what’s worth fighting for.”Kid Snow is ultimately a movie about family, relationships, the debts that we feel we owe people, and the complex ways in which we deal with these debts. The performances are great, the photography of the Australian outback in the 70’s is crisp and beautiful, and the film has a great energy to it. It is playing at Event Cinemas Shellharbour, Hoyts Cinemas Warrawong and the Gala cinemas also in Warrawong from Thursday, September 12. Go and watch it on the big screen.Become a Good Neighbour Support your local by giving great journalism a helping hand

Folk by the Sea kicks off this evening with a schedule jam-packed with 15 events starting at 5pm. Friday will be a taster of what to expect before a massive 55 event day on the Saturday of the festival. There are still 3-day full price tickets available online so if you want to grab some last minute, head to the Folk by the Sea website. You won’t want to miss out!If you’re strolling out and about on Terralong street you can pick up a copy of the three-day program schedule from Edessa Arcade. For the digitally-savvy, Friday’s schedule can be viewed below.

The Shell Cove PromenART Sculpture Walk is back this year with an even more captivating display, featuring over 50 artworks along the scenic Shellharbour Marina at The Waterfront, Shell Cove. The exhibition will be open to the public until October 30.Building on last year’s success, the number of sculptures has been expanded by 25%, offering visitors a more immersive experience. The artistic trail, presented by ARTPark, winds its way through the picturesque marina’s pathways and boardwalks, with each sculpture accompanied by a QR code providing details about the piece and its artist.Many works reflect the stunning oceanside setting of Shell Cove. Notable pieces include three bronzes from Mela Cooke’s The Swimmers series, capturing women preparing to dive into the water. Also on display is Tobias Bennett’s striking Hungry Egret, a towering 4.5-metre sculpture made from steel pipe, which stands as the tallest piece in the exhibit.One of the standout highlights is Michael Van Dam’s Earth’s Custodian, a massive 900kg stainless steel and chain sculpture valued at $224,000. At the more accessible end of the price range, Andrew Kasper’s 105kg Fire, a weathered steel work standing at 195cm, is priced at $8,890.All sculptures are available for purchase, catering to both private collectors and corporate buyers. In addition, several artists are open to creating custom, bespoke pieces for interested patrons. Proceeds from the sales go directly to the artists, further supporting the creative community.Beyond the sculptures, the PromenART Sculpture Walk, sponsored by Frasers Property Australia and Shellharbour City Council, offers a lively program of live music every Saturday from 11am to 2pm, featuring talented local musicians like Mark Crotti, Glenn Whitehall, Jack Willis, and Blessie Pica.The event also boasts large-scale murals created by local community groups and artists along the eastern edge of the marina. Among the muralists is Claire Foxton, renowned for her 14-metre depiction of Matildas’ star Caitlin Foord on Wollongong Central. Foxton will be adding a new piece to this year’s mural collection.During the October school holidays, the Make Your Mark Youth Mural Painting Sessions will give young artists aged 8 to 18 the chance to contribute to a new mural at the northern end of Shellharbour Marina. The concept, developed by aspiring artists during July’s holiday program under the guidance of local artist Tegan Georgette, will come to life over three days between October 2 and 10.Students from Shell Cove Public School and Stella Maris Catholic Primary School will also collaborate on a mural in Shellharbour Village, showcasing the community’s youthful creativity.According to Mathew Gulliver, Development Director of The Waterfront, Shell Cove, the PromenART Sculpture Walk is well on its way to becoming a signature event on the NSW arts calendar, attracting both locals and visitors alike.“Shell Cove has natural beauty in abundance and now it’s also fast developing its own cultural identity through events like this along with the likes of markets, community groups and programs. It’s all part of what makes this community the full package,” Gulliver said.For details about the Youth Mural Painting Sessions email [email protected] more information about the Sculpture Walk and its surrounding events visit www.promenart.com.au Become a Good Neighbour Support your local by giving great journalism a helping hand

From the moment Aunty Jonny took the stage the audience was ready to dance. It was a flashback to the 1980s, when Blue Light Discos were introduced by local police as a way to engage youth in a bit of clean fun. Only this time, everyone was over 18 and the punch had been spiked!  Photo Credit: Ruby Boland“No touching on the dance floor, unless you have a permission slip from home”, actor Duncan Fellows (also known as Glenn Twenty) joked at the beginning of the evening. It was an evening of great 80s music, including a very energetic YMCA towards the end of the night, that kept everyone on their feet. There were prizes for Best Dressed and Fanciest Footwork.Photo Credit: Ruby BolandThe performers were a star-studded cast of Australian actors, comedians, and performers, including Jonny Hawkins, Duncan Fellows, Jane Watt and Cheryn Frost. Together they took up roles as the “fun-police” and engaged with audience members throughout the night. Photo Credit: Ruby BolandIf you missed this event in 2024 – make sure that you keep an eye out for the next one!

Local Kiama artist Greg Martin Vale is set to exhibit his latest collection, "Inspired by Kiama," at the Old Fire Station on Terralong Street from 10–16 October. His exhibition promises to showcase the vibrant interplay of light that defines his work, capturing the essence of Kiama in ways that most people might overlook.Each morning, Greg goes out on a walk around Kiama, his eyes attuned to the play of light across buildings and landmarks. Where others might see the ordinary, Greg sees the extraordinary – a fleeting moment of illumination that transforms the everyday into something remarkable. It’s this keen ‘artist’s eye’ that defines his style and sets him apart.In June of this year, Greg's talent was recognised at the Kiama Arts Society Show, where he received a ‘Highly Commended’ prize for one of his paintings. His work draws comparisons to Australian artist Jeffrey Smart, who was celebrated for finding hidden beauty in the seemingly mundane. Much like Smart’s meticulous urban landscapes, Greg breathes life into otherwise nondescript street scenes, making the light itself the subject of his art.A recent holiday took Greg to Venice, a city renowned for its artistic inspiration. While Venice’s allure is undeniable, Greg insists that Kiama holds its own unique charm, finding it not at all necessary to leave his hometown for inspiration. “I am inspired by the distinctive scenes I come across in Kiama,” he says. Ever observant, he walks with his camera in hand, ready to capture the moments he wants to preserve on canvas.

There’s been a huge change in the enquiries I am fielding this week with locals getting hopeful about Spring springing early on us and getting their outdoor living areas ready to enjoy and entertain with. For interior decorators, exteriors are literally an extension of what we do and indeed I treat them as an extension of your home. When decorating a deck, courtyard, pool area or garden setting it is still all about connection, bringing the style and tastes established inside through to the outdoor living areas where then those spaces connect onwards to their surroundings. People sometimes hesitate to invest in outdoor furniture because they assume it will be quickly damaged and not worth the investment. That’s a good myth to debunk. Yes, the Australia sun will eventually affect all things that lay under it. And yes, our glorious South Coast location comes with corrosive salt air. However, it is a bit of a false economy to think the answer is to purchase ‘disposable’ furniture every two years. There are miraculous fabrics on the market with UV ratings to blow your mind, and other innovations that combine marine grade steel and synthetic weave rope to produce sturdy and stylish furniture that last well into their second decade. Keeping it classic, teak furniture remains the go-to timber as it decays slowly even in Australian outdoors conditions.If you are renovating your outdoor space it can be very similar to the decision-making process for an interior renovation. Be sure to research the green-certified products that can handle almost everything. For mine, they are the superheroes of hard materials! Dekton is my ‘go to’ and featured in the photo above from a recent client project. I often think that if we are decorating to enjoy the outdoors, we should look after it. So, I’m all for outdoor living purchases that are sustainable selections. Invest in quality and you will not need to add to landfill for a very long time. 

Crude, rude, and downright fabulous - that’s how one could describe the Drag Music Bingo night at Kiama Golf Club on Saturday, 31 August. The incomparable Joslyn Bosoms turned the usual bingo game into an outrageous blend of belly laughs, risqué humour, and high-energy tunes that left the audience in stitches, some even 'clutching their pearls' in shock. If laughter truly is the best medicine, then this night was a full cure for all who attended.The music bingo featured a playlist of Joslyn’s favourite tracks, proving her knack for setting the right vibe in a room filled with over 50 enthusiastic attendees. Her confident command of the AUX had everyone dancing, singing, and having fun. Lucky winners were treated to drink vouchers, exclusive Joslyn Bosoms merchandise, and even a cheeky surprise from the infamous “bag of gayness.”Kudos to Sharon at Kiama Golf Club for orchestrating this fabulous event. If you’re hoping to see more of this entertaining queen, show your support and let’s make Drag Music Bingo a regular gig. Here’s to many more nights of music, laughter, and just the right touch of naughtiness!

Fresh off the heels of a sold-out concert in Bowral last weekend, the legendary Ross Wilson brought his electrifying energy to Kiama, performing at The Pavilion on Saturday 31 August. At 76 years old, the Melbourne-born artist’s career spans over five decades, with no fewer than 26 ARIA Top 40 hits under his belt as a singer, songwriter, and producer. As one of Australia's most awarded, respected, and beloved musical icons, Wilson continues to captivate audiences nationwide.With a self-proclaimed "hippie" spirit, Wilson shows no signs of slowing down. Having been at the forefront of every major musical trend since the 1960s, his passion for music remains as vibrant as ever. A crowd of around 350 fans filled The Pavilion, eager to witness Wilson’s magic. Although initially seated, the audience couldn’t resist the urge to move once Wilson and his band took to the stage. Classic hits like Eagle Rock, Come Back Again, and Chemistry had the crowd on their feet, dancing in the aisles. The front of the venue quickly became a tight space as fans gravitated towards the stage, a testament to the magnetic pull of Wilson’s performance. It’s worth noting that The Pavilion may want to consider more room for dancing at future gigs, as the appeal of live music clearly knows no bounds.Forming in 1970, Wilson fronted the band Daddy Cool which had a number one song Eagle Rock released in 1971 - by far his biggest song - that stayed at number 1 on the Australian singles chart for ten weeks. There is another Daddy Cool song he likes more, due to its simplicity: Come Back Again. It’s the sister song to Eagle Rock and he plays both at every gig saying that he never gets sick of it.Daddy Cool’s debut album Daddy Who? was released in July 1971 and smashed all previous sales records in Australia - an astounding 50 years ago. Breaking up in August 1972, Daddy Cool briefly reformed during 1974-1975 before disbanding again.The 1976 formation of Mondo Rock delivered several epic 80’s hits Cool World, State of the Heart, Chemistry, No Time, and Come Said the Boy. After 15 years of amazing success Mondo Rock disbanded in 1991, although they periodically appeared at reunion concerts.Now in the 21st century Ross Wilson continues on as a solo performer, producer and major songwriter. He has continued to achieve success and make his mark during the 90s and beyond with his songs being recorded by artists as diverse as Jimmy Barnes, John Farnham, DEF-FX, Custard, Jennifer Rush, Troy Cassar-Daley, Leslie Avril, Hey Gringo, You Am I, Uncle Bill, Keke, Renee Geyer, Christine Anu, Duane Jarvis, Elkie Brooks, Ann Kirkpatrick and Lee Kernaghan, Sovereign, Pleasantville, Beccy Cole, Sonic Jihad, and The Wiggles! Wilson has also produced songs for the legendary Skyhooks, Jo Jo Zep, The Johnnys, and The Screaming Jets. Over a 50-year span Wilson has actually never been out of the limelight and has been twice inducted into the ARIA Hall of Fame. He’s been working as a solo performer since Mondo Rock and gathers the best musicians he can find for his touring band to play his vast assortment of hit songs but retains creative control and high levels of professionalism.He has been quoted as saying, “Musically, I’m more in tune than when I was younger. As a performer, I probably used to be a bit wilder, but now everything I do counts. I hire the best musicians I can because I like to sound good.”His biography sums it up perfectly: “Ross Wilson is probably the only person in Australian rock music who can't make a comeback simply because he's never been away”.Now resting on his catalogue of classics, in 2023 Wilson released the EP She’s Stuck on Facebook All the Time featuring four totally new tracks. To launch the EP he announced his biggest national tour since the 80’s with 40+ dates across the country from Oct 2023 - and he's still going!There are still lots more venues to catch Ross Wilson live, so check out his website or FaceBook page for dates and locations all over Victoria and NSW. The closest to Kiama are: Wollongong on 28 Sept. Gundaroo 22 Nov. Milton 23 Nov.

In 2007, local dairy farmer Lynne Strong identified an opportunity to connect the dairy industry with the community through art.Inspired by Kiama's very own Daisy the Cow, she designed the Picasso Cows - a MOOving Work of Art program.The program invited primary school students to investigate the dairy industry through the lens of three themes: healthy landscapes, clean water, and energy-efficient dairies.Over eight weeks, the students explored the dairy industry and then designed an udderly fantastic artwork based on their findings, which they painted on a life-size fibreglass cow.The 2007 pilot was a partnership between Kiama Arts Society, with artists Philip Cooper and Rosalyn Hanson painting Daisy the Cow and Jamberoo Public School students painting Buttercup. The official launch in 2008 saw schools from Kangaroo Valley to Wollongong participate in the initiative. Supported by the Kiama Council, the students’ artworks were displayed in Hindmarsh Park for two weeks over the summer holidays. The community choice competition attracted over 5,000 visitors, with the community choosing Kiama Public School as the People’s Pick and the judges selecting Minnamurra Public School as their winner.The Picasso Cows then travelled to the Sydney Royal Easter Show, where the students' artworks were displayed for two weeks, with the cows even participating in the Grand Parade.The herd grew when students from Kiama High School painted three of Daisy's calf-tastic offspring.The program went national in 2009, reaching schools from the apple groves of Tasmania to the wine region of Margaret River and beef cattle country in Rockhampton. In the last 15 years, over 1,000 pieces of dairy art have been created by primary school students across the country, all inspired by our very own Daisy and the artistic endeavours of our local students. It's safe to say the Picasso Cows program has milked the creativity of young minds nationwide!

In 2017 the General Motors Holden factory in Elizabeth closed down. It was the last large scale automotive manufacturing facility in Australia to close. Pete Williams, the director of the new feature film Emotion is Dead, is from Elizabeth and he marks this closing of the factory as a huge event in Australian history. “In 2017 that factory closed and that was the last car manufacturer in Australia. So after that factory closed there was a huge spike in unemployment, in depression, marriage breakups and even suicide. A lot of my family and mates from school worked in that factory and I saw the effects, socially and economically, of that closure. I was determined to tell that story,” says Williams.Thus, Emotion is Dead was born. The film follows an expressionless young man named Brock (Jude Turner) who lives in Elizabeth and regularly visits the closed down Holden factory. We know his father worked at the plant, and his mother is a die hard fan of Holden driver Peter Brock, but we are unsure of the complete effects that it had on the family.Brock is from a low socioeconomic background and he has his own company as a gardener whilst also studying at university. As the film progresses, Brock begins a scheme to steal money from the people whose gardens he tends to which sets off a chain of events that lead to an explosive finale.Williams says that one of the main themes that the film explores is generational inequality and you can see this clearly through the character of Brock.“How do young people buy their first house? How do they climb the social ladder in society? Is it possible to do it legally in this current situation? And Brock doesn’t think it is possible to do it legally. He’s a genius and someone at university but he doesn’t come from a family of wealth so what do you do?” Says Wiliams.The film also contains a plethora of emo music from the 2000’s and the music gives the film character and style. It also reflects the feeling of the characters and the atmosphere that Williams is trying to represent. “When I was Brock’s age I lost a good friend who took his own life in Elizabeth and the music that got me through that time was punk rock and emo music. It really made me feel because I think I went into a similar sort of stasis that Brock does where he pushes all of his emotion down and doesn’t feel anything because he doesn’t want to feel pain. And the only way I could feel was at punk shows or listening to that music,” says Williams.The film also does a great job at capturing the beauty of suburban Adelaide, as well as presenting real Australian characters. In a film culture that is populated by American and English productions, it is refreshing to see Australians accurately represented on screen.“I was away from Australia for 15 years and hadn’t visited much and when I came back I fell in love with the country again. I recognised how special some of our characters are and our people and our places. Even some of our low socio economic suburbs, working class suburbs I saw some beauty there and some authenticity. So I just wanted to capture that on screen,” says Williams.Ultimately the idea at the film's core is that Australia has fallen away from the heart and pride that we used to have in creating our own products. It uses the closing of the Holden factory to present this idea of depersonalisation in the working class. There is no self identity in our work anymore because we are so separated from it. The film explores the effects this has on our work, mental health and economy.“The pride in producing something of significant value, a physical thing, has been taken away from Australian society. And the film really wants to ask the question: How do working class people find dignity and pride in what they do in this modern economy, especially young people,” says Williams.Emotion is Dead is fun, stylish and well acted. All the different threads compliment each other very well and the film both feels Australian and comments on what we’re living through in Australia right now.The film is playing at the Ritz Cinemas in Randwick on August 29 and Williams will be there for a Q and A session afterward.

Fancy finding some warmth this winter from the pages of inspiring books and magazines?Here are some tips on how to translate a page torn from a magazine and create the feeling in your home.First up, I mentioned the feeling rather than the look – and that is the key when finding inspiration from someone else’s work. Boucle sofas and velvet drapes conjure up warmth and enveloping emotions, but you don’t need to change everything you’ve invested in before these trends to create a new vibe and up the glam. Find smaller items that have cuddly textures or shimmery liquid finishes. Local shops in our region excel at giving us cushions and throws that evoke the winter-getaway-haven spirit we love to cultivate on the South Coast.If the pages from a magazine strike you as gorgeous but too bold, try translating the aesthetic to something that will serve your daily life well. A full shag rug may bring the drama you desire but it takes maintenance to look its best. So if you have a busy family home and a dog you may find a flat rug with a woven pattern that echoes the inspiration image is the way to go.Inspiration images are fun and ultimately are there for you to take, twist, and make your own.If you need a hand to make it happen, give decorator Asha Ardill a call.www.southcoastcolour.com.au

“There was this two hour period from 11:30pm at night, when they went missing, until the time of their death at 1:30 pm. It was like this hole opened up in the universe and swallowed them and then spat them out,” said The Speedway Murders co-director Luke Ryndermann.On the night of 17 November 1978 four young employees at the Burger Chef fast food restaurant in Speedway, Indiana went missing. Their deceased bodies were found two days later 32-km away from the restaurant. More than 40 years have passed and the case still hasn’t been solved. But Melbourne writers and directors Luke Ryndermann and Adam Kamien’s new film The Speedway Murders may just represent a huge step forward.“We found it (the case) on Unsolved Mysteries - the old TV show - and I’m a true crime tragic and obsessive. Adam’s background is in journalism and I ended up sending him an email asking if he thought it was something worth pursuing. He then used his skills and ended up in a Facebook group that had relatives of the victims and police officers and potential suspects,” says Ryndermann.“We eventually saved up $10 000, got ourselves a Director of Photography and went over there.”Being Australian gave the duo an advantage as they were investigators with zero ties to the existing case and became a light of hope for the families still begging for closure on the deaths of these young kids.“There was very little movement on the case,” says Kamien. “The strategy of the police was just to hold a press conference every year on the anniversary and hope that some more information would come in that would change the case. So I think the families were really pleased.”The film is structured in a way where you relive the night multiple times from the perspective of each different theory. Kamien and Ryndermann realised that a big issue with the case was that there were different groups of people with alternate theories of what happened, but someone had never collected all of these theories to possibly construct a bigger picture of the case. “We looked at it and thought, if we collated all the information, we could cross reference things then perhaps we could shed some new light,” says Kamien.As you journey through the film you are exposed to the different theories, one after the other, and each time you are convinced that this particular theory will be the one. But then there is always something that doesn’t add up.The film uses interview footage and it also, interestingly, employs actors to play the victims and basically help tell the stories of their own deaths. It is an ingenious device that also allows the victims’ personalities to shine through the screen so that by the end you feel like you know who these people were.“We decided early on that we didn’t want the victims to become footnotes in their own story and just mention potential perpetrators. So, the way we did that was to recreate the restaurant and have them inside there forensically trying to figure out their own murder. And that also allowed us to recreate the period and the actual building,” says Ryndermann.The duo found an old Chinese restaurant in Adelaide scheduled to be demolished and used it to reconstruct the Burger Chef restaurant. They based it on real blueprints for a Burger Chef restaurant, they found the real uniforms which would have been worn and found every American car from the 70’s in the area. Everything was as close to real as could be possible.The way the directors combine the documentary format with the scripted scenes give the film an emotionality that other documentaries just can’t have. It also creates a haunting atmosphere that permeates through the screen. Despite the case still not essentially being closed, the ending of the film allows for a sense of catharsis while simultaneously making a huge statement about the future of the case.“These kids should have gone to work and gone home and instead this terrible thing happened to them and it makes you think about your own mortality because anything can happen to anyone,” says Kamien.The Speedway Murders will be available to stream later this year.

The voices of 1000 rural women are being sought for a groundbreaking new documentary on Australia’s rural, regional and remote women.Rural Daughters, the feature-length documentary by award-winning CheekyMac Productions, will follow the personal journeys of some of Australia’s most inspiring rural women in their efforts to overcome barriers, effect change and live a successful, purpose-driven life in the regions.In addition to their stories, a nationwide 1000 Rural Women Survey has been developed to capture the experiences of rural women on a broad range of topics from natural disasters, health and domestic violence to societal attitudes, racial prejudice, Tall Poppy Syndrome, community life, leadership and female role models.Women of the Kiama region are welcome to participate. The documentary and survey is the brainchild of producer, director and writer Danielle McAlpine Johnson, herself a rural woman from Gippsland, Victoria. Mrs McAlpine Johnson aims to garner more than 1000 survey responses to provide a statistical snapshot of rural women.“Surveying 1000 rural women is a bold target, but we hope women take this opportunity to tell us about their lives and be a part of a collective voice in the Rural Daughters story,” she said.“These women are the backbone of rural Australia and we are putting our heart and soul into telling their stories – how they overcome adversity, find purpose, break limitations and lead in their communities in the most unique and innovative ways.”The survey has been developed by Federation University’s Collaborative Evaluation and Research Centre, together with CheekyMac Productions – both organisations led by rural women. Commissioned by the Community Enterprise Foundation, the survey is expected to be the largest and broadest of its kind.“Our involvement in this documentary is an opportunity to showcase that a regionally-based university can make a difference with regional communities and, in particular, advocate for rural women on issues that matter,” CERC Professor Joanne Porter said.The documentary and survey results are expected to be used to inform policy and develop educational resources in Australian schools.The survey is available online between August and September and can be found at cheekymac.com/rural-daughtersTo request hardcopies, contact [email protected]

On Thursday, August 8, the Kiama Pavilion buzzed with an air of nostalgia as fans of classic rock and roll gathered for a night with Joe Camilleri and The Black Sorrows. The crowd, a seasoned assembly of music enthusiasts, reflected the enduring appeal of a band that has been shaping the Australian music scene since 1984. Describing themselves as “a loose band of like-minded musicians,” The Black Sorrows continue to captivate audiences with their unique blend of soul, blues, and rock.Frontman Joe Camilleri’s career is nothing short of legendary, spanning over 50 years. As a singer, songwriter, saxophonist, and producer, Joe is widely regarded as one of the most genuinely talented figures in Australian music. Even in his mid-seventies, he remains at the top of his game, delivering performances with energy and passion.Fresh off a European tour and now back on Australian soil, Joe mentioned that The Black Sorrows are now on tour in Australia. They still average around 150 shows a year in fact - a testament to their relentless drive and love for live music. Since 2014, Europe has become a regular stop on their touring schedule, further expanding their fan base.The current line up of The Black Sorrows is formidable, featuring Claude Carranza on guitar and vocals, Mark Gray on bass and vocals, James Black on keyboards and vocals, and Tony Floyd on drums. Together, they delivered a mix of classic hits like “Harley and Rose” and “Shape I’m In,” alongside new tracks from their upcoming album The Way We Do Business, set for release on October 18. This will mark Joe’s 55th career album—a milestone that underscores his prolific contributions to music. The band has already dropped a single from the album, “One Door Slams.”Joe shares some insight into the new single: “One Door Slams started off as some ramblings about a Mercury and a Coupe De Ville. It ended up as a tragic love story about a girl who gave away her love too cheaply but just couldn’t handle the curb…‘one more night alone she’s gonna lose her mind. Finally, she realises the world is full of opportunities, and all you gotta do is step inside,’” he explained.One of the night’s highlights, beyond the electrifying live music, was witnessing a spirited older gentleman who danced with abandon throughout the entire performance. His energy was infectious, and it was a reminder of the powerful connection between music and the human spirit. Seeing a crowd so deeply immersed in the music was a joy, Joe’s enduring talent and vitality are truly remarkable.As The Black Sorrows approach their 40th anniversary, Joe Camilleri is also set to celebrate over 50 years in the music. Joe’s music has been covered by the likes of Elvis Costello and John Denver, a testament to his influence and the timelessness of his work.

A lagoon-like beach surrounded by vigorous greenery, blue waves rolling toward the shore, a tribe of people preparing for a surf at their own private paradise, nature and humans working in harmony as though we lived in some sort of utopia. These are some of the images and stories that South Coast artist Stan Squire conveys through his incredibly detailed artworks - and yet he doesn’t say a single word.Even when The Bugle contacted the SEVENMARKS art gallery, who are presenting Squire’s work, about a possible interview with Squire, gallery director Cobi Cockburn replied, “Stan is quite a reclusive artist and not really the one to talk about his own works. I have spoken with him and he is willing for me to discuss the works on his behalf.”Maybe it is not so surprising to learn that Squire is a solitary individual when you look at his work. Most of the pieces are filled with this sense of observation. That Squire is watching moments, but isn’t quite present in them - as though he is removed from the work completely.“I look at them and you do see people interacting, but for me they lack a perspective or a judgement. I don’t see Stan putting himself in there, it's more of a reflection of things. And Stan is an incredible observer, I think anyone who goes to that level of detail within their work has got to have a very attuned eye,” says Cobi.Squire’s work is nostalgic and almost unreal in some ways. The way he pauses moments, you almost think he wishes he could pause reality in the same way. You definitely get the sense that he perhaps wishes he could turn back the clock to a more simpler way of life.“I think he longs to live in a time that was slightly quieter and less hectic and definitely less people out in the surf, I think he'd like that. Like any intriguing mind, I think he'd like to have a view back to that place and be able to go back to that place. Whether or not he generally wants to be there or not, I’m not sure. There is always that intrigue of what was this like before we came and were so invasive? What are these raw elements about and how do we navigate that?” says Cobi.Squire was a finalist for the landscape prize at the Wollongong Regional Gallery in 1995. He’s held exhibitions all around Australia and won the Basil Sellers art prize in Moruya in 2010. Most recently, in 2019, he was a finalist for the Megalo international print prize in Canberra. He’s been doing it for a long time and Cobi believes Squire is the type of artist who doesn’t do it for any other reason than that he has to. That was why she felt he would be good for the SEVENMARKS gallery.“The main objective of the gallery is to continue to show artists who we believe are really important and should be seen. Stan is someone who I’ve always admired for his ability to continually work on a body of work and reflect and stay true to who he is and not get caught up in the commercial art scene. He’s done it for the right reasons I believe. I find it intriguing and I find that there’s a depth there,” says Cobi.Squire’s work will be showing at the stunning SEVENMARKS gallery from August 3 to September 1. Tickets and more information are on the website.

The Shoalhaven First Nations Film Festival (SFNFF) will be held at Huskisson Pictures on 20-22 September and it will be the first ever First Nations film festival held on the NSW South Coast.The programme for the three days includes four feature films, seven documentary films and thirteen short films and will feature live performances from First Nations artists.The goals of the festival is to collaborate with local First Nations communities and to showcase the work of Indigenous filmmakers from around Australia, telling their ownstories, to Shoalhaven’s First Nations communities.It also aims to broaden understanding amongst a non-indigenous audience of First Nations culture and will use any net proceeds from the festival to support local Indigenous students to become storytellers through film.The films on the programme range from new to old and are directed by First Nations artists from the south coast and also from all over Australia.The oldest film is from 1933 and is called Joe Anderson and features Anderson, a proud Dharawal man, speaking to the camera demanding respect, representation and justice for First Nations people.There is also a film called Oola-boola-woo which is based on a dreaming story related to the five islands clustered off the coast of Port Kembla written by the children of Coomaditchie.The full programme and ticketing information is available here.

The annual Kiama International Sea Side Arts Festival (KISS) has lost 40 percent of its funding due to Kiama being named a major city in 2024. KISS Arts Festival is an annual free family friendly festival that celebrates circus, comedy and art and has been held in Kiama for 12 consecutive years.The festival previously relied on almost half of their budget from Regional Arts funding, but since Kiama is no longer considered ‘regional’ they are going to have to figure out other ways to continue.In a video released via the KISS Facebook page, event organisers Tamara Campbell and Dave Evans revealed, “We need to raise an extra $20,000 for the festival and this has happened because Kiama, with its one traffic light, has been declared a major city which means we’ve lost access to all of our regional funding.”The labelling of Kiama as a ‘major city’ is very strange as Kiama doesn’t feature the regular elements of a major city such as Wollongong. Campbell says this strange decision could negatively affect the arts culture in Kiama as a whole.“In terms of regional funding eligibility from Festivals Australia, the reason that we were previously classified as regional is because we are a country town, we don't have the population that major cities do, we have minimal public transport links, minimal infrastructure and facilities and as such, it was deemed important to support artistic activities in country Australia. None of those things have changed,” says Campbell.However, MP for Kiama Gareth Ward isn’t convinced that the labelling of Kiama as a ‘major city’ is the main problem. He says that it is all the Labor party’s doing.“Whilst the Federal Government have recategorized Kiama as a major city for GST purposes, which is rather odd, this has nothing to do with the NSW Labor Government’s savage cuts to regional arts programs,” says Ward.Ward cites his previous ability to be able to secure regional arts grants from the coalition government as a prime indicator of the Labor government’s priorities.“As the local MP, I was able to secure several grants for the KISS Arts Festival and many other local Kiama arts and cultural festivals from the former Coalition Government. However, the current NSW Labor Government sees NSW as simply Newcastle, Sydney and Wollongong; regional NSW just isn’t on Labor’s radar,” says Ward.It remains that Evans and Campbell need funding and they have tried to find other pathways by applying for grants and funding applications themselves and have been unsuccessful due to a big increase in applicants as well as their own lack of experience with the process.“Funding applications are getting more and more competitive. COVID-19, bushfires, floods and now, major festivals folding has all had a devastating effect on the arts industry. As a result, more and more companies are looking to acquire funding to stay afloat. Numbers of applicants have increased considerably at the same time as less funding is available,” says Campbell.“Funding is achieved by creating a rapport with these organisations which is not done overnight. They need to become familiar with your work and we need to learn to tailor our offering to exactly what the funding round is for,” says Campbell.Campbell and Evans have now been forced to turn to the Kiama community for their help in getting the $20,000 of funds needed for the festival. “It wasn't a decision that we took lightly as we want KISS to always be a free festival. However, to take such massive steps backwards after making such solid steps forward for the last 12 years didn't seem like the right thing to do either. We are asking those in the community who have attended the festival in the past to pay it forward for those members of our community who can't necessarily afford to do it themselves. This is a one-off scenario and we are already looking into new funding and sponsorship options moving forward,” says Campbell.In the video on the KISS Facebook page, Evans breaks it down that if 200 families donated $100 each then they would make their $20,000 target. And Campbell breaks this down even further by saying, “If you divide that $100 over the 12 years of KISS that works out to be only $8 a year to be at KISS.”Evans and Campbell are very passionate about the KISS Arts Festival and believe that these events are an integral part of a small community like Kiama, and they would hate to see it taken away.“Children who get access to the arts grow up to be well rounded creative thinkers. Adults who get access to the arts are able to laugh, cry, dance, sing, open up to each other and build community. Families that are exposed to the arts are able to enjoy all of the above together,” says Campbell.“Each year we build on the previous year and each year we are approached by our community with new ways to be involved. Our desire to produce accessible, family friendly events and Kiama's creative spirit drives us to produce KISS each year.”If you would like to support live performance and the arts in Kiama, you can donate to ensure that KISS gets another year. The link to the GoFundMe is here.

Gerringong Pics and Flicks are calling on all local filmmakers and enthusiasts who are interested in learning the art of cinematography, screenwriting, editing and all things film, to apply for their new scholarship.The scholarship is for residents of the Kiama LGA aged between 18 and 25 and will cover a portion of the costs for two short courses at the Australian Film and Television Radio School (AFTRS).Gerringong Pics and Flicks Incorporated is a community run not-for-profit organisation, which has screened films monthly at Gerringong Town Hall for 24 years. They also support local community and cultural events and have teamed up with both AFTRS and Screen Illawarra for this scholarship.In a press release, Gerringong Pics and Flicks wrote, “Applicants need to be 18 to 25 years when they enrol in their chosen AFTRS short course and live in the Kiama Council Local Government Area to be eligible to apply for the Pics and Flicks scholarship. The scholarship valued at $1000 will provide $960 financial assistance towards the cost of fees for the AFTRS short courses and $40 for one year’s professional membership of Screen Illawarra.”The scholarship application form will be downloadable on Friday 9 August from the Gerringong Pics and Flicks Facebook page. Entries close Friday 23 August. Gerringong Pics and Flicks presents a film on the first Friday of every month (except January) and in August they will be playing Celine Song’s Oscar nominated film Past Lives.Past Lives is a poetic film about a Korean girl who immigrated to America as a 12 year old and as an adult in America reconnects with a boy from her childhood which creates a wedge in her current relationship.It is an emotional exploration of a past world and a current world and the ways in which they intrude on one another.

“I think the world we live in can be harsh. It really drives people into working and earning and getting into a place where they don't feel satisfied. Surfing and riding waves and being in the environment and exploring the beautiful coastlines, there's a freedom there and a true beauty and I think that's very alluring and it's deeply fulfilling for us as human beings,” says Jolyon Hoff, director of the film You Should Have Been Here Yesterday.Watching You Should Have Been Here Yesterday is like a rhythmic and nostalgic daydream. It immerses you in a time of blossoming surf culture with its excitingly creative surfers, its innovative board designs and its free spirit.The film doesn’t have a main character. Instead it uses Australian surfing culture as a character, tracking its rise and fall throughout the 60’s, 70’s and 80’s. It uses restored footage of old surf films, which were filmed with 16mm cameras, and interviews with various people including surfing filmmaker Alby Falzon and writer Tim Winton.“I wanted people to think more broadly about the culture of surfing and the culture of the era and what was going on. Films, especially surf films and adventure films will hook onto a character and follow a very tried and tested arc of the hero's journey or an adventure to go and conquer a wave. So it was a conscious choice to make a film like this because I wanted people to bring their own thoughts to it,” says Hoff.The restored film is gloriously rendered on screen, especially the various shades of blue in the crashing waves, you never would have thought so many blues existed. The footage also embraces all of the small imperfections of the old film reels such as light leaks and scratches and this contributes to the nostalgic feeling of it all.“We scanned about 150 hours of lost Australian surf film footage and it’s been scanned at archive quality by Kade Bucheli, who spent 14 months on it, and also overseen by Billy Wychgel, who was the colour grader for Lord of the Rings,” reveals Hoff.The film makes you yearn for a period that has been and gone, but it doesn’t fall into the familiar mistakes of these types of films where they only focus on the good parts of the time period.“In this film I wanted to engage with that time period honestly and deal with what happened when drugs were introduced and also the problem of women being ostracised from surfing. They were two elements of surfing that I was pleased to bring up in the film,” says Hoff.Ultimately Hoff says he wants people watching the film to fall in love with surfing all over again and bring that into the present because he believes surfing culture has never been better.“There’s all different types of surfing like competitive surfing, longboard surfing, old people surfing, kids surfing, bodyboarding, kneeboarding. Everything is surfing and is part of that community so the title is a bit of a misnomer because it's not ‘You should have been here yesterday’, it's ‘You should be here right now.’ You should be enjoying and being present in this moment and what is going on in surfing now,” says Hoff.You Should Have Been Here Yesterday is playing as part of the Travelling Sydney Film Festival at the Warrawong Gala Cinema on Sunday July 28. It is truly an immersive and mesmerising depiction of a time in Australian history that doesn’t seem to be talked about enough.Jolyon called in for his interview with The Bugle from Indonesia where he is working on a documentary film about refugees who have been stuck there since the Australian Government stopped the boats.