February
FBI RadioJames Hazel’s composition ‘Bodies stretched beyond the mediant’ played on The Bridge with Mara Schwerdtfeger
03.02.26
https://www.fbi.radio/programs/the-bridge-with-mara-schwerdtfeger/episodes/the-bridge-with-mara-schwerdtfeger-3rd-february-2026
from the compilation:
New Weird Australia, Fragile States | NWA022 by New Weird Australia
December 2025
Cashemere Radio Compilation (Berlin)
Featuring: James Hazel – dirtstripnasalgrasslandroot. For working-class voice, alto saxophone, double bass, and field recordings gathered in Budapest, dirtstripnasalgrasslandroot
https://cashmereradio.bandcamp.com/album/miga-vol-2
Almost one year in the making, Berlin’s beloved Cashmere Radio is proud to announce the release of its second mega-compilation in the MIGA series, coinciding with the celebration of our 10th year on air and in the studio.
The compilation is a survey of the variety and intensity of the scene surrounding the radio station, and the vital work it produces. Cashmere Radio sidesteps the prevailing big-room-techno stereotypes of the city and instead provides a comfy virtual and physical space to host a community of truly experimental radio makers, their guests and an occasional live audience.
Comprised of just a small slice of the intensive output of the group of DJs, musicians, sound artists and community members of all other descriptions into a dizzying 103 track compilation, MIGA Vol. 2 builds on MIGA Vol. 1 with almost double the amount of tracks, and a growing sonic diversity that’s somehow been sequenced into a flowing transmission which gently drifts the listener from one unexpected place to the next.
Well known acts and Cashmere Radio mainstays, performing as themselves and under aliases, rub shoulders with friends of the station in a tracklist that largely defies genre but covers territory from crooning-outsider-electro-pop to radio-play and Hörspiel; softly-spoken-word to wav-ish-industrial; rubbed-out-motorik to birdless-field-recording; and of course with 103 tracks there’s always more.
As with MIGA Vol. 1, the compilation is part of Cashmere Radio's ongoing fundraising campaign.
All proceeds from this release will go directly towards keeping Cashmere Radio on the air. Operating completely on small donations, goodwill and the enthusiasm of committed volunteers gives the station a resilience and independence that’s not reliant on arts, government or corporate funding. This is especially important in light of this year's oppressive cuts to the cultural budget and the increasingly harder to navigate landscape for artists in Berlin.
Please consider supporting us by buying the album or leaving a donation, so that our radio station can continue to be there for YOU and the many individuals and communities that pour so much passion into this project.
Thanks to everyone who donated a track and to all who supported this gargantuan endeavour.
credits
released December 25, 2025Organisation: Gregory Parker, Nathan Gray, Matteo Spano
Mastering: Germaine Png, Antonino Modica, neana, Lukas Grundmann
Cover Art: Alizée
Words: Gregory Parker, Nathan Gray
license
all rights reservedcredits
released December 25, 2025Organisation: Gregory Parker, Nathan Gray, Matteo Spano
Mastering: Germaine Png, Antonino Modica, neana, Lukas Grundmann
Cover Art: Alizée
Words: Gregory Parker, Nathan Gray
September 2025
GEORGE PATON GALLERY:
Structural Listening; Surplus Vocalities : a workshop with James Hazel
WHEN: Tuesday 23 September, 1-3PMWHERE: Meet at the Arts Lab, Level 1, Arts and Cultural Building, Monash Road, Building 159 (MAP), next to the George Paton Gallery.
RSVP NOW
https://umsu.unimelb.edu.au/news/article/7890/Structural-Listening-Surplus-Vocalities-a-workshop-with-James-Hazel/
How can we better understand experiences of precarity and social class within late-stage capitalist institutions?
Facilitated by artist and sociologist James Hazel, this workshop will focus on creating a series of ‘structural listening’ scores aimed at exploring the social practices, experiences, and embodiments rendered invisible by neoliberal governmentality and administrative logics. Through the lens of song, music, sound, and the sonic arts — and drawing on Brandon LaBelle’s idea of poor acoustics — we will explore what it means to attune to the barely audible and pre(care)ious thresholds of under/heard socioeconomic experience.
By engaging with auditory knowledge(s), we ask how listening might open up new ways of understanding and attending to soft-lives lived in precarity.
MAY 2025
CLASS ACTIONS X LIQUID ARCHITECTURE WORKSHOP:
CLASS WORK; CLASSED VOCALITIES:
POLY-RYTHMIC: MUSIC//TALK//EATS #5
In May, @class_actions members - @kaztherese and James Hazel facilitated the 'Class Work; Classed Vocalities' workshop with Liquid Architecture @liquid_architecture for the Poly-rhythmic: Music//Talks//Eats series.
In this, we explored what intersectional, lived, class experiences mean in contemporary so-called 'Australia' via working/under-class vocalities, poetics, text, singing, movement, and Queer Underclass Joy.
It was such a joy and honour for us to share the space with all those involved (a beautiful group of creatives) – sharing stories, poetry – some deep class-work pedagogy across differing classed modalities, whilst holding and making real space for sacred, lived, low-socioeconomic stories.
A highlight of the workshop series was to premiere the films we made with our co-founder Gadigal/Bidgigal/Yuin Elder Aunty Rhonda Dixon Grovenor interrogating the hauntologies of gentrification in so-called Redfern, on Gadigal Land, to a Naarm audience.
The workshop was generously catered, with lunch and Arabic coffee by @knafehnabulseyeh.
Thanks so much to the generosity and support of LA Director Kristi, Rohan, and the Liquid Architecture team for the support. xx
More @class__actions work to come this year.
#kaztherese #auntyrhondadixongrovenor
#classactions #workingclassvocalities #classwork #werewolf #pooropera #housopoetics
© 2025 Class Actions Collective. All rights reserved. All materials, knowledge, and content produced or shared by Class Actions Collective are the intellectual property of its members.
APRIL 2025
Notes contributed by James Hazel to text by leading experimental Italian composer Renato Grieco, published in Sound Chapters; Voices of Sound Experimentation in Italy (2025)
Sound Chapters: Voices of Sound Experimentation in Italy is a hybrid volume dedicated to the sound arts scene in Italy. Using textuality as an intimate form of sound, the book reproduces the temperature of the voice in writing. The word acts as ventriloquism and imitates remote vocalities. In the chapters, stories, essays, research, poems, scores and songs sound without hierarchies, highlighting plurality. Intertwining contributions that escape the habits of writing, the project amplifies a fluid and inclusive bibliography on the subject. The authors of this book are artists, researchers, curators and cultural organizers who, in the last ten years, have played an active role in the experimental sound arts scene in Italy. The book is not only a theoretical reflection on the Italian sound scene, but also the catalogue of Mezz'aria. The strange opening of sound research , a collective that explored sound research in the exhibition context of the Museum of the Twentieth Century and Contemporary Art of Palazzo Fabroni in Pistoia (20.05-15.08 2023). Artists and researchers: Marco Baldini, Elena Biserna, Luca Boffi, Andrea Borghi, Mattia Capelletti, Francesco Cavaliere, Stefano De Ponti, Nicola Di Croce, Giulia Deval, Alessandra Eramo, Paolo Gabriotti, Giulia Gonfiantini, Renato Grieco, Riccardo La Foresta, Enrico Malatesta, Chiara Pavolucci, Leandro Pisano, Diana Lola Posani, Radio Papesse, Francesco Toninelli.
MARCH-APRIL 2025
Score by composed for
COMMON PLACE in That’s Two, Thank You, FORM’s new annual dance festival celebrating the art of the duet.
Omer Backley-Astrachan and Jana Castillo
presented by
FORM Dance Projects, Riverside Theatres and That’s Two, Thank You
Common Place by Omer Backley-Astrachan is an exhilarating dance duet featuring two seasoned Sydney-based performers. It tells the story of two individuals coming together through a rite; a ritual; a celebration. Together they ride the edge of chaos. Reaching, swiveling, gripping onto dance as a monumental force of life.
“At its core, Common Place celebrates fearlessness. The power of folkloric dance lies in its humanity- its ability to reflect our shared histories and reveal the topography of experience through our emotional and empathic capabilities. In this work, we come together, fully devoted to the simple yet profound act of dancing together.
I am honored to collaborate and share the stage with the exceptional dance artist Jana Castillo. Together, we look forward to offering this work to the eyes, ears, and hearts of Sydney audiences and sharing this meaningful moment with the community here.” Omer Backley-Astrachan.
Common Place is presented in That’s Two, Thank You, FORM’s new annual dance festival celebrating the art of the duet.
CHOREOGRAPHY AND PERFORMANCE
OMER BACKLEY-ASTRACHAN
JANA CASTILLO
ARTISTIC ADVISORS
ANTON
LINDA GAMBLIN
ADDITIONAL COLLABORATORS
HUGO POULET
REMY ROCHESTER
LIGHTING DESIGNER/ PRODUCTION MANAGER
FRANKIE CLARKE
COMPOSER
JAMES HAZEL
COSTUMES
ALEISA JELBART
NOVEMBER 2024
Catapult Dance; The Lockup (Newcastle);
ARTIST IN RESIDENCE:
Mitchell Christie in collaboration with James Hazel
https://thelockup.org.au/artist-in-residence-mitchell-christie-in-collaboration-with-james-hazel/
NOVEMBER 2024
Experimental Lit & Performance
Festival A) GLIMPSE) OF) (Athens)
https://aglimpseof.net/
Premiere of:Yiannis Andronikidis & James Hazel:
Starved for Weather; An Exercise in Storm Squatting | Radio Play
SEPTEMBER 2024
Book Launch: LA ARCHIVE
https://www.lacarchive.com/calendar/upcoming
Celebrating the new @thickpress
🎉 𝔄𝔫 𝔈𝔫𝔠𝔶𝔠𝔩𝔬𝔭𝔢𝔡𝔦𝔞 𝔬𝔣 ℜ𝔞𝔡𝔦𝔠𝔞𝔩 ℌ𝔢𝔩𝔭𝔦𝔫𝔤 📖
[Including text: ‘On Pre(care)ity or Underclass Love’ by James Hazel]
𝓛𝓐𝓒𝓐 invites you to our outdoor vitrine show visualizing project ephemera from Radical Encyclopedia, a publication about the way we help and care for each other. See how 200 contributors from the worlds of social work, family therapy, art and design, body work and organizing, gathered together and produced this resource around helping one another.
Privileging co-construction over diagnosis, wisdom over evidence, collective healing over individual cure–yet always blurring categories and embracing contradictions–this collection reveals a pluriverse of helping practices grounded in love and freedom.
🌞 Sunday launch 2pm @scribble
LACA vitrines open Monday-Sunday 8am-6pm.
Ty @jjuliecho @erinsegal and @pforpaint
SEPTEMBER TO NOVEMBER 2024
Finalist in Incinerator Art Award (Art for Social Change)
In 2024, James’s work was selected as a finalist in the Incinerator Art Award: Art for Social Change for which he received an honourable mention by the judges for the work “underclass(auto)theology.”
https://www.e-flux.com/announcements/622821/incinerator-art-award-2024/
AUGUST 2024
STRIPDIRTNASALGRASSLAND ROOT for Working-class Voice, Double Bass and Saxophone premiered
on MUTANT RADIO (GEORGIA)
JULY-2024
Working(through)Scores Workshop Series at Seventh Gallery
JUNE-JULY 2024
SOLO EXHIBITION HAIR ARTIST-RUN-INITIATIVE
Supported through CREATE NSW, Cité Internationale des Arts, and Fondation Singer Polignac
https://www.dither.au/shows/atmosph-re-commune-commoning-atmospheres-?eventId=YAvNYsxT6a84LhxFNKdS
JUNE 2024:
West Australian Ballet’s 'State: Contemporary Vision':
Score composed for James O’Hara’s Mattering
MARCH-APRIL 2024
GROUP EXHIBITION KINGS-ARTIST-RUN-INITIATIVE
FEBRUARY 2024
LIVE PERFORMANCE AT CASHMERE RADIO (BERLIN)
Curated by Nathan Gray
https://cashmereradio.com/https://www.citedesartsparis.net/en/inclosure-acts--sound-works-and-rights-to-land
INCLOSURE ACTS -– Sound works and rights to land
February 11.
CASHMERE RADIO
18:00 - 20:00 EST
Poor Opera(tions) / James Hazel with Jeremy Coubrough
Nathan Gray
MIlitant Dilettantes (Sonja Hornung & Daniele Tognozzi)
Live online and in the studio
Cashmereradio.com
DM for location details
INCLOSURE ACTS refers to the process of privatizing the collectively owned lands of Britain, a process that mirrored and informed the dispossession of Indigenous peoples in its colonies. Acts has a double meaning here, both legal and performative, and this program presents works that speak to land, class and the law through performance and sound.
Poor Opera(tions) / James Hazel's work as a composer and researcher is informed by experiences living in the social-housing system. James presents works such as '(under)scoring the commons,' developed with the Gosford community – a gentrifying, working-class neighborhood north of Sydney. He also performs with saxophonist Jeremy Coubrough on 'extended transcription no. 2 (dirtstripnasalgrasslandroot).'
In May 2020 the mining company Rio Tinto destroyed the Jukaan Gorge caves, sacred sites of the Puutu Kunti Kurrama and Pinikura peoples in Northern Western Australia. Nathan Gray presents manipulated field recordings of the automated kilometer trains that remove tons of iron ore from the site every day, a horror sound track for an extractionist world.
Militant Dilettantes (Sonja Hornung and Daniele Tognozzi) present The ESG Shit Show or The Tragedy of the Horizon (2023), a radio melodrama about the greenwashing, artwashing and social impact washing of finance, and what happens when representation is reduced to the management of risk.
JANUARY 2024
STEGI RADIO
Curated by Lilly Markaki
Like pt.1, pt.2 of Dialogue for Liberation responds to Israel’s genocidal war on Gaza and the West Bank with a call for decolonial liberation. As Ijeoma Oluo put it in a a post from a few days back, “Free Palestine is Black Liberation is Indigenous Sovereignty is Queer Liberation is Anti-Capitalism is Disability Justice is Gender Justice is Prison Abolition is Collective Liberation. Free Palestine is how all empires fall.”
With huge thanks to contributors for the following, original material:
Sabeen Chaudhry — “G.” (from Rimming the Event Horizon, 2023)
James Hazel — On Pre(care)ity (or underclass love) (2023), w/ guitar by D.M. (James’ dad)
Joshua Jones — “Money”; “Speech”; “Shores” (poems from the upcoming pamphlet, Deconstructions)
Svetlana Rakocevic & Justin Katko — None of This
**This piece was based on Suheir Hammad’s poem “What I Will” (2013), here interwoven with protest chants in Arabic from a recent London protest (thanks to streetsoundsystem crew!); a section of the BDS food list; and Pasolini’s line “This is a different landscape. There is a desire to kill here” quoted in Sean Bonney’s collection Our Death (2019)
https://stegi.radio/show/dialogue-for-liberation-pt-2-2024-01-16?fbclid=IwAR1jrCN3DJ-ly6HMDvJQ8CNGBmbBrwvT0BSZlARw_OFLkk82-5Ed85c83VQ
NOVEMBER 2023:
ADSR ZINE X OLIVIA DAVIES X PEGG GLANVILLE HICKS HOUSE
SEPTEMBER 2023:
CRITICAL PATH REGIONAL FELLOWSHIP
Kristina Chan (Biripi Country) is working with composer, music researcher, co-founder of experimental arts publication ADSR Zine James Hazel, and with dancer, choreographer Sophia Ndaba to investigate what it means to collaborate with the more-than-human forces. They are exploring dance that acknowledges a ‘pluriverse’ conception of the world, getting beyond human-orientated ways of conceiving the world through art praxis.
https://criticalpath.org.au/resources/reflections-with-regional-fellows-kristina-chan/
AUGUST 2023:
NEW ANUAL FESTIVAL: CATAPULT DANCE; RHAPSODY
Catapult Dance Choreographic Hub presents: Rhapsody, a one-of-a-kind cultural experience. Rhapsody is a radical new dance work by accomplished choreographer Omer Backley-Astrachan that takes the audience beyond the familiar theatrical setting and onto the fifth floor of a parking lot in Newcastle's West.
This mesmerizing performance consists of a series of virtuosic movement-poems that explore the tensions between two bodies, interwoven to create an intense and uplifting cultural experience. Rhapsody is performed twice, back-to-back, by different duo casts with varying gender identities, granting viewers the opportunity to relive the work and gain alternative viewpoints on the dynamics and dramaturgy in the work.
Accompanied by music by groundbreaking composer James Hazel, Rhapsody celebrates intensity of expression and invites the audience to embark on a powerful and exhilarating journey through dance.
Recommended for audiences 15+.
DURATION
60 minutes, no interval.
SENSORY ADVISORY
Loud sounds and bright lights.
ARTISTS & COLLABORATORS
Choreography: Omer Backley-Astrachan
Artistic advisor: Cadi McCarthy
Music and sound: James Hazel
Performance: Dancers of Catapult Company
ACKNOWLEDGEMENTS
Catapult Dance Choreographic Hub is proudly supported by Create NSW, City of Newcastle and Australia Council for the Arts.
AUGUST/SEPTEMBER 2023:
RADIOPHRENIA: BROADCASTS ACROSS GLASGOW ON 87.9FM
BROADCASTS ACROSS GLASGOW ON 87.9FM24 HOURS A DAY: 21st August – 3rd September, 2023
RADIOPHRENIA is a temporary art radio station broadc
The broadcast schedule includes a series of 16 newly commissioned radio works, 14 Live-to-Air performances as well as live studio shows, screenings, shorts and pre-recorded features. As in previous years the majority of the programme will be made up from selections submitted to an international open call for sound art and radio works. Radiophrenia first began broadcasting in April 2015 with subsequent editions in 2016, 2017, 2019, 2020, 2022, and 3034.
JULY/AUGUST 2023:
CLASS ACTIONS: RESIDENCY AT THE ETHICS CENTRE
JUNE 2023:
PERFORMATIVE LECTURE;
UNDERSCORING THE COMMONS (KATOWICE POLAND)
JUNE-SEPTEMBER 2023:
CRITICAL PATH REGIONAL ACTION RESEARCH PROJECT
Kristina Chan; James Hazel; Sophia Ndaba
Biripi Country; Gadigal Country
Choreographer Kristina Chan asks what does it mean to work with the more-than-human forces of a collaborative project? She will build on a dialogue with James around making dance and sound that acknowledges a ‘pluriversal’ conception; getting beyond human-orientated ways of making the world.
MAY 2023:JAMES HAZEL ANNOUNCED AS FINALIST
IN THE APRA-AMCOS PROFESSIONAL DEVELOPMENT AWARDS
(CLASSICAL/EXPERIMENTAL)
MARCH 2023: UNDERCLASS(AUTO)THEOLOGY NO.1 EXTENDED ESSAY
PUBLISHED IN LIQUID ARCHITECTURE’S DISCLAIMER
FEBRUARY 2023:
JAMES HAZEL IS GUEST EDITOR FOR LIQUID ARCHITECTURE:
“POOR ACOUSTICS: CLASSED VOCALITIES”
DECEMBER 2022:
NEW SCORE DEVELOPED FOR ‘WE’VE BEEN HERE BEFORE’
BY JAMES O‘HARA: SYDNEY DANCE COMPANY
DECEMBER 2022: SOLO EXHIBITION
GOSFORD REGIONAL GALERY
OCTOBER 2022:
ARTIST IN RESIDENCE (CLASS ACTIONS) CEMENTA FESTIVAL, KANDOS
RESEARCH/PUBLIC WORKSHOP PROGRAMS
SEPTEMBER: PACT CENTRE ARTISTS IN RESIDENCE ANNOUNCED
Congratulations to the 12 amazing emerging artists chosen for 2022-23's residencies and our new incubator, PACT LAB: Process, Play, Experiment.
Adeeb Razzouk (Space Residency)
Béatrice Barbeau-Scurla (Lab)
Charlotte Salusinszky (Lab)
Cynthia Florek (Lab)
Eliza Cooper (Residency)
Eliza Scott (Space Residency)
Em Size (Lab)
Frank Dwyer (Lab)
Jacqui O'Reilly (Lab)
James Hazel (Residency)
Katya Petetskaya (Lab)
Ryan Whitworth (Lab)
AUGUST 2022: ‘(DE)GHOSTING THE ARCHIVE; PUBLISHED BY CARRIAGEWORKS JOURNAL
Was a privilege to write about Kaz Therese's recent show 'Sleeplessness' a few weeks ago. Thank you to Carriageworks Journal for publishing this essay."Sleeplessness invokes many such questions around what it means to inhabit a traumatised and classed body. How can theatre and institutions be reworked and rewritten for these needs? These are persistent questions that the work is attempting to address through particular (in)formal devices – a means to redetermine the very structure of theatre as an alternative to a format, which is arguably engineered for the linear, teleological European patriarchal Master-narrative, underpinned by the cultural myth of having-it-together –an inherited format we still revere all too disproportionately to other modes of knowledge production.To perform one’s disrupted lineage of subalternity against the received template, as Kaz does, demands an ethical under-working of performance – potentially leading towards a prescient, bodily-led process of feeling over form. For rather than surrendering to the professional dictates or traditions of this tendency to contort one’s voice, corporeality, and identity, Therese and director Anthea Williams have retrofitted drama to work for them. An approach made apparent when Kaz interludes: “[Stage Manager] Anastasia is gonna help me tell the story. They have my back. Anastasia will operate the show and when I don’t want to talk about something they will sort it out for me, because sometimes, I don’t know…” In both the rehearsal and opening performance, Kaz relied on Anastasia to take over the narration (with a voice recording) during the section about Mel’s disappearance – a portion of the story that discloses an eerie mimesis of their grandmother Lenke’s plight; a wound that will probably never resolve."
AUGUST: AWARDED APRA-AMCOS ART MUSIC AWARD
FOR WORK WITH ADSR ZINE
JULY: INSTRUMENTALISING YOUR DESIRE:
SCREENDIVE: GAUDEAMUS COMISSION
Instrumentalising Your Desire; Effective Meditations Protocol® is an audio-visual program developed via the Social Practices Association (located on the 18th Parallel of Adminicity). SPA produces ‘effective meditational’ instructional modules which can be adapted to calibrate the employee-affect-relations (EARS) of nearly every industry.
Developed from Director James Hazel’s patented SURVEY-SCORE© technology, we turn to the realm of the sonic as a medium that can reveal employees’ deeper machinic-desires, both in and out of the work-play-space. This offers an innovative solution to the previous ocular-centric, market-based approaches to management and logistics.
JULY: ADSR ZINE:SPECIAL COLLECTION EXHIBITION:
SYDENHAM CONTEMPORARY GALLERY
SCREENDIVE: GAUDEAMUS COMISSION
Instrumentalising Your Desire; Effective Meditations Protocol® is an audio-visual program developed via the Social Practices Association (located on the 18th Parallel of Adminicity). SPA produces ‘effective meditational’ instructional modules which can be adapted to calibrate the employee-affect-relations (EARS) of nearly every industry.
Developed from Director James Hazel’s patented SURVEY-SCORE© technology, we turn to the realm of the sonic as a medium that can reveal employees’ deeper machinic-desires, both in and out of the work-play-space. This offers an innovative solution to the previous ocular-centric, market-based approaches to management and logistics.
JULY: ADSR ZINE:
SYDENHAM CONTEMPORARY GALLERY
"James Hazel and Elia Bosshard of ADSR ZINE invite you to our next archival exhibition, of works drawn out and extended from digital to material forms; a provisional library which includes texts of special value, from the personal collections our contributing artists; a space wherein we can spend long durations with those writers/thinkers that have influenced our thinking and practice. In building this library, we are interested in the ways a text might betray a sense of having been lived with and alongside;
notes / comments / folded pages / signs of wear and tear /of treasured and pleasured annotations; those intimacies and proximities that index the ways in which ideas and words never expire on the page, but permeate all facets of experiential syntax."
JULY: CLASS-ACTIONS COLLECTIVE
COMMUNITY WORKSHOP: CARRIAGEWORKS
As part of Kaz Therese’s SLEEPLESSNESS public-program, Karen Therese, Aunty Rhonda Dixon-Grovenor, and James Hazel invite artists who have experienced involuntary poverty to participate in a workshop program. This workshop will extend the conversations around themes of SLEEPLESSNESS @carriageworks.
Info available on the Carriageworks website.
The workshop will explore our shared and lived experiences of class via labour, trauma, love and care in an era of radical change.
The workshop will be organised around a three-part collaborative approach comprising Kaz Therese’s Radical Kindness method; Gadigal and Bidgigal Elder Aunty Rhonda Dixon-Grovenor’s First Nations Cultural Leadership; and Composer James Hazel’s pre(care)ious listening exercises.
The objective of the creative process of Class Actions is to prioritise the mental, spiritual and cultural safety of artists and participants.
CLASS ACTIONS is a collective focused on better understanding how poverty, class and identity intersect within an era of radical change/crisis - guided by
the lived experiences of the CLASS ACTION founding members (Karen Therese, Aunty Rhonda Dixon-Grovenor and James Hazel) across three generations.
Classactionscollective@gmail.com
Info available on the Carriageworks website.
The workshop will explore our shared and lived experiences of class via labour, trauma, love and care in an era of radical change.
The workshop will be organised around a three-part collaborative approach comprising Kaz Therese’s Radical Kindness method; Gadigal and Bidgigal Elder Aunty Rhonda Dixon-Grovenor’s First Nations Cultural Leadership; and Composer James Hazel’s pre(care)ious listening exercises.
The objective of the creative process of Class Actions is to prioritise the mental, spiritual and cultural safety of artists and participants.
CLASS ACTIONS is a collective focused on better understanding how poverty, class and identity intersect within an era of radical change/crisis - guided by
the lived experiences of the CLASS ACTION founding members (Karen Therese, Aunty Rhonda Dixon-Grovenor and James Hazel) across three generations.
Classactionscollective@gmail.com
