AIDAN ROWLINGSON

Aidan is an actor, poet, director and producer based in Brisbane. He is a proud queer Butchulla man from K'gari (Fraser Island). Aidan graduated from the University of Canberra with a Bachelor of Acting and Performance. He has worked in classical and contemporary theatre including Henry V by Shakespeare, The Chair Plays by Edward Bond, Dislocated and ANTHRO APOLOGY by Alethea Beetson and Digi Youth Arts. He has also performed poetry as a part of IMA's First Thursdays, Queensland Museum's Black Out and Jungle Love Festival to name a few.

All-Stars is Aidan's second appearance in PASTEL.

How might you describe the visibility of Indigenous and First Nation peoples in the current stage and screen sectors?

There is simply not enough First Nations representation in the entertainment industry. But what is equally important is not just the quantity of content but also the quality of the content. Quite often what I see is an indigenous story being told on stage or screen about the struggle of being First Nation person in a post-colonial world. These stories are important, but they also fail to let First Nation artists just be artists. There is so much incredible talent in my community and I want to see it globally celebrated. Which, by extension, is a celebration of all of us and how far we have come in a post-colonial world.

You've performed with Queensland Museum's BLACK OUT event, and in The Original People's Party at Brisbane's Powerhouse, both showcases of First Nations culture by way of spoken words and stage performance. Which elements of your heritage are important inclusions in creating your own work, or in the work of others bringing these stories to life?

The most important thing to remember when writing and creating is to tell your own story. Trust me! Whether you are gay, straight, white, black, rich or poor you will never write anything good if you write a story that is not your own. When you are showcasing your work to an audience you are using a voice that is a accumulation of your own experiences. For example, if you're poor, then you have no idea what it is like to be rich. But you can write about your dreams to be rich. If you're male then you have no idea what it's like to be female. But you can write about how it feels to be feminine. Think about your current situation and find an angle. That's what is interesting. Your writing should be a window into your soul. Not a key hole into someone else's. We want to hear about you.

Are there misconceptions you’re particularly invested in dispelling through your poetry, or in the projects you perform in?

Art can and should change people’s hearts. One of my favourite artists Nina Simone once said “You can’t help it. An artist’s duty, as far as I’m concerned, is to reflect the times”. Right now the times are a mess. It’s hard to pick just one issue to focus on, especially because I represent a few different communities. I speak as a queer Aboriginal man from a low income background. And so I try to focus on issues that concern the issues of queer aboriginal men from low income backgrounds. I think it’s a simple concept that can have a big impact.

'How to Empower Femme Black Boys' was your debut PASPiece in the pages of PASTEL Issue #4. What about being a 'femme black boy' differs from being a 'black boy'?

I wrote this poem at a point in my life where I was contemplating how to empower the young people of the two communities that I represent. My aboriginal community, as a proud Butchulla man, and my queer community, as a proud queer man.

And still to this day I contemplate how my brothers and sisters of these two groups exist in the world. We know that black, gay groups are marginalised in society, and we also know that fem presenting boys are looked down upon within society, as well as in these marginalised communities. (Why? Because to be feminine is not desirable in our society and the belief that feminity is weak is a very colonial and heterosexual belief). So I looked toward the history of these communities. So proud and so resilient. And I remember that while white, masc males were sitting in the comfort of their passability and resulting privilege, fem black boys were in the streets fighting and dieing for the rights that we too often take for granted. We indeed to often white wash or masculinise the fight for freedom.

I also look toward modern culture and remember that most of what is popularised today such as music, dance, art, language and ideas has been inspired by (or in some cases stolen from) these thriving communities. The fem black boys (and indeed everyone) need to remember that history is not made by the wrong doings of the oppressors, but by the perseverance of the oppressed

‘Bondi Boys’ is your All-Star return, and is a story of erasure in the murders of queer people. The narrative takes after similar stories, like Scott Johnson’s 1988 murder, or the disappearance of newsreader Ross Warren the following year. What connection do you feel to New South Wales’ long, dark history of coveted violence toward gay men?

Intergenerational trauma is very real. As I continue to learn about my queer history (something I firmly believe all queer people should do), and as someone who has experienced violence at the hands of homophobia, I felt a deep connection to these men. I wrote this poem wanting to reflect on the history of homophobia in Australia, as a reminder that it was not that long ago queer people were thrown from cliffs. It’s a reminder how far we have come (especially in our rights to protection and safety) but also as a way to remember an ugly part of history that took place in our own backyard.

Institutions such as the police force should be there to protect you, not erase you. There has been a lot of change since 30 years ago especially for gay men. But only for white men. We look back now and say, "thank God I was born during that time." But this shit is still happening to people of colour. Its time we demand change on an institutional level.

No one should fear for their life. Fear is what has stopped the LGBTQI+ community and the Aboriginal and Torres Strait Islander Community from growing. It’s time we stop surviving, and start thriving. But to do that we need to change systems, institutions and laws. And we can’t do that until we start changing people’s hearts and minds.

A short play Aidan’s written will be showcased at the brand new Brisbane Syfy Festival, which is really exciting. Also, next year he’s hoping to release a whole bunch of poems in some form (maybe a performance, who knows) so stay tuned by following his Insta @aidanrowlingson for updates.

To enjoy Aidan's All-Stars contribution, pick up a copy of PASTEL Magazine All-Stars at pastelthemagazine.bigcartel.com