It's hard to describe how it felt to be there on that first night, other than that it was unbelievably amazing. It followed a bizarre day of bomb threats, strange photographers hiding in the bushes, busloads of riot cops, and busloads of the Shooters' Party. Put it this way, Pauline Hanson speaking was a huge event and security was tight. Pauline herself arrived by chopper.

Cultural Stomp is a 'Cultural Diversity and Unity Festival', held annually in Newcastle NSW. Although Cultural Stomp could be seen as a form of 'creative activism' through its genesis in response to a political party and a political ideology, it exists as an artistic entity in its own right. One way it could be described is as a grassroots community festival, evolving beyond its political catalyst since its inception. It is organised by an open collective of people from various parts of the community. I can't speak on behalf of the collective, but I can say what I think is unique about Cultural Stomp and why I think grassroots activism is so important.

In 1997 Pauline Hanson was coming to Newcastle to launch the One Nation Party for the first time in New South Wales. People were pissed off to say the least, as One Nation had been extremely vocal in advocating divisive, racist and jingoistic policies. Community groups, organisations and individuals were preparing to show Pauline what they thought of her.

Newcastle was already in a turbulent period in 1997 because of the imminent closure of BHP, the city's highest employer at that time. 'BHP had just announced the closure of its steelworks and 2500 workers were to be on the scrap heap by 2000... the downsizing of BHP also would have a painful effect on ethnic communities of the Hunter, with about 600 non English speaking background workers needing extra English language skills.'¹

Protests against One Nation had been organised to occur outside the theatre, primarily aimed at the period during which audience members (mostly One Nation supporters) would enter the building. But some weren't satisfied that this was the most productive form of 'Hanson opposition', believing the unwelcoming reception she was encountering around the country was just aiding her media exposure. Others were keen to show their opposition in a creative, peaceful arena that would be inclusive and safe. We decided to protest by celebrating our diversity and the ways in which that diversity united us as a community.

Approximately 30 people met at Wollotuka, the Aboriginal unit at Newcastle University, and decided to hold a festival in Civic Park, 200 metres from where Hanson was speaking. It was decided to name the festival Cultural Stomp. A core organising group came together, called Cultures in Action (CIA). The philosophy behind CIA is 'Let us learn to understand this land and live together in harmony'; a philosophy that was carried throughout the organisational process and the festival itself.

Through its first meeting at Wollotuka, Stomp began in an indigenous space that welcomed all other nationalities into it. One of the most significant moments within the festival itself is the ceremony that was devised in its first year to coincide with the time of Pauline Hanson's speech. It involves indigenous elders, the elders of this land, lighting candles and passing the flame that is representative of the spirit of the land to other generations and cultures.

That first year, over 5000 people attended. And it grew: the festival evolved from a night-time concert, featuring mostly performers and speakers, to encompass a huge day of performances, workshops, displays, diverse foods and a speakers forum.

Grassroots Philosophy

Within the philosophy of Stomp, 'cultural diversity' does not purely speak of ethnic diversity, but culture within a growing and living society. There is representation and participation from queer organisations, cultural communities, indigenous people, environmental groups, musicians, street performers, social justice organisations, youth organisations, artists, puppeteers, speakers, breakers, organic, vegetarian and bush food growers, activists and so on. The park is a free public space claimed by the members of the Newcastle community as their space, regardless of age, gender, ethnicity or class. Stereotypes and tokenism barely exist in a reclaimed space with an inclusive nature based on open decision-making.

Stomp works by calling on involvement by groups in whichever way they feel they would like to participate. For example, in 1999 the Purrimaibahn Aboriginal Unit from the Hunter Institute of Technology decided that in addition to the awesome tent structure they'd erected, featuring local Aboriginal artwork and displays, they would also provide a free sausage sizzle for the community. Through the sharing of food, Purrimaibahn added an extra interactive element to the day.

CIA is not politically aligned with any organised groups. Many different people support Stomp, from individual MPs to academics, youth organisations, environmental organisations, disability groups, artists, performers, elements of mainstream and independent media, cultural groups, religious communities, local council and indigenous groups.

This year's Stomp was held on the 26th May 2001 coinciding with National Sorry Day. Last year it was held in conjunction with Mabo Day. Mrs Bonita Mabo, an indigenous activist and the widow of Eddie Mabo, was the guest speaker. It was a great privilege for the Newcastle community, especially owing to the fact that Mrs Mabo chose to share in Cultural Stomp as opposed to attending more official ceremonies in larger Capital cities.

It may seem that an event like this requires or possesses lots of funding. Believe me, it doesn't. However, as the festival developed into an annual community event, CIA realised money was needed. Funding is sought from various organisations such as the Ethnic Affairs Commission, Newcastle Council and other funding bodies, but the majority of support comes from volunteer hours, community good will and in-kind support. In-kind support is very, very helpful and can be sought from various different groups in the community. Stomp receives free photocopying from Newcastle University Students Association, and church chairs for events, while surf clubs or scout groups donate tents and marquees. The more community organisations and ethical businesses involved, the greater your networks and community support.

There was a growing idea within CIA to not only expand on Stomp itself but the involvement of CIA within the community. Many people thought it necessary to offer our skills and support back to the community in recognition and thanks for the support we had received. We therefore offered to run free workshops at other events.

Ownership by all sections of the community is one of the most important aspects of creative activism. Who owns the action? Everybody involved and everybody that participates in some way, as an organiser, performer or audience member. Collective organising is an integral aspect of this. It is important to be game to just call people. Ask people who to speak to and don't be the 'organiser': listen to what the community wants, not what you think is best for the community. Speak to people, hold public meetings, ask people for help to spread news through their networks.

Stomp differs from a lot of events in that it is not primarily email or web-based. Stomp relies heavily on personal contact between individuals and groups, which means a lot of personal time is spent speaking with people face to face or on the phone. Considering the varying types of groups that CIA works with, face-to-face contact is necessary and one reason why it is such a successful grassroots festival.

For me, Cultural Stomp has been one of the most accessible forms of creative celebration that I've been involved with. It actively manifests its philosophy and this is evident through the immense community support it receives each year. Stomp will be in its 6th year next year. It can only grow as the community grows and changes. Since the complete closure of BHP, Newcastle is at the height of change: developing the already expansive artistic community is now a major focus within Newcastle. This growth may not necessarily be represented in bums on rugs, but within the enthusiasm it generates and the unity it brings to the community every year.

For more info on Stomp check out: www.culturalstomp.com
Or contact Cultures in Action on (02) 49 27 1475

¹ The Cultural Stomp: Newcastle Celebrates it's Cultural Diversity, Steve Georgopoulos, Multicultural Education Unit, Hunter Institute of Technology, 1998