Artist Opportunities

Deadly Fringe

In its four short years, our Deadly Fringe development program has supported the birth of a stack of exciting new First Nations-led projects that have toured the country, won awards and given a platform to the incredible breadth of deadly work being made in Melbourne. Deadly Fringe is committed to centring First Nations voices and perspectives. With the support of our Deadly Fringe Producers, we offer financial backing, as well as access to First Nations yarning circles, mentorships and discount tickets for mob.

Deadly Fringe 2020

Deadly Fringe is back with another incredible program unearthing and supporting emerging First Nations artists. These hand-picked works, backed by us and developed especially for Fringe, represent some of the most exciting Fringe work from First Nations artists in the country.

The recipients of our Deadly Fringe Visual Arts Commissions for 2020 are:

  • Madison Connors with Healing Through Buliana (Pregnancy), an online art exhibition depicting pregnancy through the eyes of an Aboriginal mother. This is art to evoke a connection and conversation.
  • Rosie Kilvert with Us, a series of self portraits of Aboriginal women. Rosie’s work explores the relationship First Nations women and non-binary people have with their bodies, in light of experiencing misogyny. Find out more here.

We also commissioned two performance works, which are now postponed till 2021.

  • Harley Mann (Social Staples, Melbourne Fringe Festival 2018) presents Of the lands on which we meet, a contemporary blend of circus, dance and physical theatre work that explores the harmony and dissonance of contemporary Australian reasoning
  • Racheal Oak Butler presents My Calling, an inter-arts collaboration contrasting spoken word compositions with a cycle of dance and movement. My Calling touches the surface of secrets held within Racheal’s family and the impact of Australia’s ignorance and racism.

Deadly Fringe is supported by Craig Semple.

Deadly Night, Melbourne Fringe 2019. Photo by Michael Jalaru.