The festival runs over nine days with 54 out of 69 events being free. Over 350 (mostly) local artists are involved in projects around 12 locations. Big West, Ferguson says, is about art first and foremost, but she sees the festival contributing to betterment of the world around her by raising awareness of social issues. “We want to make a difference, create more empathy, more understanding leading to social change,” she explains. “People are keen to participate in the festival. It’s spread far and wide; it has traction in the community.” The impact of gentrification made itself known in a particular way when Ferguson was working on the last Big West festival. “With the 2013 festival we were working on big heavy shows and many of the elders couldn’t turn up to work on their events because of their family or community commitments taking them so far away. They’re meant to be leading their communities but those communities are spreading far and wide and people were having to travel long distances. The language groups are separating out and people are becoming isolated in places like Tarneit with no public transport. We have to hope the housing bubble bursts because people can’t afford to live within their communities. Talking to people, over and over again, you hear them say ‘a house is what makes you feel well.’ Having a house is the big thing. This is backed up by a huge amount of research.”
Ferguson sees housing as a society’s primary concern, and it’s not just about being able to afford somewhere to live, first you have to find somewhere to live, sometimes as a matter of urgency. “There’s a lot of consternation in the community about family violence,” she notes. “Where do women go when they don’t feel safe? When they are homeless within their own homes? How do they get themselves new homes? Women are in situations where they need low cost housing. It’s extremely dangerous for women and children to sleep rough. They have to go back home to an unsafe house rather than be on the streets. All of these things come into play.”
Despite the seriousness of its subject and the politics involved, Ferguson says that most of the artists have created lighthearted joyful works on the subject of housing. “It’s gorgeous how artists have responded to the idea of housing. We’ve got 70 different versions of a house. It’s not just about heavy issues.” What fascinates Ferguson when it comes to a work of art? “I’m interested in fearless exploration of the inner world. I say ‘Go for it artists! Come up with something funny and whimsical.’ For example, For Heaven’s Sake, a project by Born in a Taxi, lets you into the Institute of Heaven where you can talk to angels in the Department of Compassion, Punishment and Advice.”
How does she choose projects? Is Big West like Fringe where anyone can register and put on anything? “We’re not an open access festival,” she replies. “We put a call out with the theme and the parameters, and people send in their ideas. As long as they can be managed feasibly within a budget, and they fit the theme, we’ll say yes. We want to let the artists speak. We really believe in participation, our mission is to prioritise the community working together. We want to support those artists in the community, whether they’re performing artists, visual artists, or film makers.”
Ferguson describes herself as a strategic thinker and it’s clear how much she enjoys what she does. “There is no such thing as a problem, just facts: how are we going to solve this? It’s about not being afraid. I’ve transformed from being an artist to a CEO and project manager, a fundraiser, an events manager. I nurture these new artists. I’m wearing all these hats.” Having an artistic background herself has she ever wanted to put her own work into the festival? “No. I’m satisfied with the level of creativity I have with my engagement with various artists.” What does she especially love about Big West? “The beauty – there’s such a tremendous amount of beautiful art. This matters to people, beautiful art with a rich meaning underneath it.”
BY LIZA DEZFOULI
