Based upon the successful Widening Participation work done in the Creative Industries Faculty over the past two years, including working with young people on the autism spectrum on Altered States and Super Conductor, this project uses a strength-based inclusion model to build capacity for these young adolescents from refugee backgrounds to engage in post-secondary education programs.

For six days students from Milpera State High School will participate in a post-school transition program using a creative workshop program of music, dance and video making.

The week culminated in a studio performance, accompanied by a discussion forum addressing diversity and access for disadvantaged communities to university and creative programs.

View an album from the performance and discussion here. 

In the late 70s and early 80s, there was an emergence of post-punk Brisbane bands like the Go-Betweens, The Riptides and the Apartments. The Gin Club’s Scott Regan has analysed songs from artists such as these for his PhD research, and has composed and recorded a number of new songs that fit the idea of The Brisbane Sound.

This event featured live performances of these new songs, followed by a panel discussion with Andrew Wilson (Four Gods/Frontier Scouts), Michelle McIntyre (Dream Poppies/ Ratsack Magazine) and Ursula Collie (Ironing Music) – all of whom have personal connections to The Brisbane Sound – and chaired by current QUT lecturer and researcher John Willsteed (Go-Betweens).

Think. Listen. Network. Make music your business.

View a gallery from the event here. 

Then again, there’s always the gun on the drawing room wall…

Adaptor Eamon Flack puts Chekhov and contemporary Australia in a blender with director Daniel Evans and QUT’s trainee actors serving up a loud, brash version of Chekhov’s first major work that beats with the hallmarks of his classics: love, dreams, restlessness and passion.

Everything about this production of “Ivanov” is first-rate. Just as he did with La Boite Theatre Company’s “The Tragedy of King Richard III”, Director Daniel Evans has not only paid homage to a classic of the theatrical cannon but found the humour and fun within a morally ambiguous play. Eamon Flack’s adaptation of the original text is nuanced already, however, in Evans’ hands it bursts with life, making it both excellent and entertaining theatre. – Meredith Walker, Blue Curtains

Eamon Flack’s new adaptation of Ivanov is such a rich, broad and full-blooded piece of theatre that it’s impossible to put your finger on just one strength. – Daily Review

By Anton Chekhov. Adapted by Eamon Flack. Performed by special arrangement with Eamon Flack.

Enter Inferno, the unforgettable cyborg experience, part robotic dance party, part wake-up call from the future. Machine art is about to meet demonic, in a dynamic crash-merging of spectral mechanics and human imagination.

You can be part of Inferno in one of two ways – either as a participant, or as a spectator.

Participants are fitted with robotic exoskeleton suits and are plunged into the experience.

It is essential to just let yourself go in INFERNO. You are directed by the machine and are no more than a puppet. But in your guts you sense that you are a puppet with incredible power – Maxence Grugier, digitalarti

Spectators witness the extraordinary spectacle of cyborg machines dancing their human subjects.

Inspired by ideas of control and Dante’s depiction of the Circles of Hell, Inferno confronts what it means to surrender to human-robot symbiotic relationships.

In an age of intelligent machines, who is in control?

Created by Professor Louis-Philippe Demers and Bill Vorn.