• Congratulations Geelong Edge

    WEYA is proud to announce that the Geelong Edge Ensemble have been announced as Semi-Finalists of the Victorian Government Group Achievement in the Community Award, which forms part of the 2018 Victorian Young Achiever Awards for their work throughout 2017.

  • New Geelong Ensemble

    North Geelong Edge is a new group of young people from many different cultural backgrounds meeting at Diversitat’s Northern Hub in Norlane. This vibrant group of young people aged 16+ is preparing a new street performance for Geelong After Dark in May. The work is a comedy based on folk stories from the diverse cultures of the participants.

    Dave Kelman, WEYA’s Artistic Director says, ‘This work builds on our outreach work at North Geelong Secondary College. It’s really exciting and fresh. It’s youth-led and the participants are bringing their languages, cultures, movement and humour to the work. Geelong After Dark will be amazing and will lay the foundation for this project to continue to grow and develop.’

  • Caliban on Tour

    The WEYA show that wowed audiences at the Coopers Malthouse in 2016, is about to be remounted for a tour of Victoria in May. Under the Direction of WEYA’s new Associate Director, Penny Harpham, with a largely fresh cast and writer Georgia Symons back  to support an evolution of the script, this iteration of Caliban will take the battle ground of global climate politics to new audiences.

    Caliban will tour to Drysdale, Shepparton, Wyndham, St Albans, Narre Warren, Sale and Mildura between 14 – 31 May 2018. Full details and booking links available here.

    The show is listed on the VCE Drama Playlist, and will be studied by year 11 and 12 students as an example of innovative and excellent home grown Victorian theatre.

    The tour has been made possible with the support of Australia Council for the Arts, Creative Victoria and the Besen Family Foundation.

  • Jacob Rajan Workshop in Hoppers Crossing

    Jacob Rajan, New Zealand Artist Laureate and Co-founder of Indian Ink Theatre Company, will be visiting WEYA’s Wyndham Edge program next week. Participants will work with Jacob to develop skills in stage presence through mask. Jacob is internationally renowned for his innovative work blending western theatrical traditions with eastern flavours and is currently Artist in Residence with Wyndham City Council. He will be performing his show The Guru of Chai at the Wyndahm Cultural Centre on 15 and 16 March. Booking details here.

  • Enrolments Open For Free Theatre Workshops

    Enrolments are now open for WEYA’s  free workshop programs for young people in Hoppers Crossing, North Geelong,  St Albans and Footscray

    These programs welcome young people of all cultural backgrounds, genders and abilities who are interested in working with other young people to create their own original theatre. No experience necessary – just the desire to come and give it a go!

    Enrolments are now open online, and full details of start dates, venues, and age range for each program are available here.

    Check out this awesome show that the Wyndham Edge crew from Hopper’s Crossing created last year.

  • WEYA’s New Home at Kindred

    Look at our new house! Well actually this is part of the set from Quarter Acre Block, which had it’s first work in development showing a couple of weeks ago.

    But we do have a new house! WEYA has moved.

    We are now living happily in Kindred Studios, 3 Harris St, Yarraville, VIC, 3013.

    Our new phone number: 03 8658 4052. Save it to your phones! : )

    Quarter Acre Block is supported be Australia Council for the Arts and Helen Macpherson Smith Trust. Set pictured here designed by Katherine Branch.

  • Passionate Pathways Featuring Alphonse Mulashe

    Alphonse Mulashe is a musician and actor, committed to community and family. He gets up at five AM most mornings to work as an apprentice plumber, and rehearses in the evenings. Now nineteen, he was twelve in 2010 when he came to Australia with his family. And he was in year ten at North Geelong Secondary College when he first became involved with Western Edge Youth Arts, attracted by the opportunity to learn about other peoples’ experiences.

    In 2016 Alphonse co-created and performed in the Geelong Edge Ensemble’s first major work, Belonging, and he gave a truly stunning performance as Marley in this year’s Six Hours In Geelong, which premiered at Geelong Performing Arts Centre in October. I chatted to him a couple of months ago in the lead up to this latest production.

    Reflecting on his first contact with WEYA, Alphonse remembers:

    ‘Dave and a few people – Nat, Rex – came to the school and they were looking for people to join in the workshops, and I was the first one to join in. That was the first time I’d been involved in acting. We did a few shows, and after we finished high school Dave asked anyone who was over eighteen to stay. Geelong Edge got its name, and everyone started taking it seriously. We’ve been doing shows since then, and here we are.’

    Alphonse went on to muse on what’s kept him engaged with WEYA’s programs over the last four years:

    ‘I liked, not only acting, but also learning about the other people, learning about their culture, and how they feel and what messages they want to bring out. That’s why I keep doing it, why I’m still working with Dave, because every time we improvise we are learning about someone, where they came from, what they see, who they used to be before they came here, what they’ve experienced here and what changes they want to make in the community.’

    Alphonse worked closely with his fellow ensemble members on the creation of Six Hours In Geelong, which he said was a play about ‘culture, love, laws, and racial tension’. I asked him about his character Marley – a troubled figure that he played powerfully and with total commitment. He said:

    ‘Marley comes from my country, the Congo. He came here to Australia and he’s trying to become what society wants him to become. His brother is trying to remind him of where he comes from, but Marley does not want to listen. He wants to fit in and stuff. With Marley, I’m trying to show what really happens in real life, because I know that. I’ve seen it; that people come from their county and they get here and they want to fit into the community. They want people to see them as equal, even if what they believe in is different to other people. They just want to fit in with the people they hang out with, ‘cause if they don’t then people won’t accept them. Marley’s brother want’s him to be a lawyer, and he doesn’t know what he wants to be, so that’s why there’s a problem.’

    As a first year apprentice plumber, Alphonse sees a lot of life on the job, and he is philosophical about even the more challenging experiences, and how these feed into his practice as an actor and story teller:

    ‘From work I’ve learned many things that come into the acting. I’ve learned things from outside my circle. Whenever I go out there I’m always seeing new stuff, experiencing new stuff. The more you learn, the more you put in. People do stuff, and people say stuff that you didn’t think might happen, or you didn’t think someone might say. So the next time, if it happens to you, you know how to avoid it. If you put it in the show, then if someone gets in that situation, then they know how to avoid it.’

    Alphonse lives with his mum and four siblings, who’ve been to all his WEYA shows. He’s actively involved in his Church community, singing and playing keyboard for the choir, which involves two rehearsals as well as the Swahili language service every week. He says:

    ‘Music has been an interest for me since I was still at school. At church they needed someone to play keyboard, so I learned. When I’m a bit free, I make music and just keep learning, experiment with what I play. Anything I have in mind I just put it there and see what comes out. Sometimes they call our choir to go and perform places. We have Congolese Independence Day, and multicultural events. We go there and represent our country.’

    I asked Alphonse about his plans for the future and he shared:

    ‘I see myself working, setting up myself for the future, helping my family in any way I can. Soon, when I’m all set for myself, I’ll get married, get a kid, and start my own life for myself, but keep my family in line as well. What my mum has done for me is something that I’ll always remember and try to give back, even when I’m living by myself. When I get married I’ll go back to my country and see my brothers and my family that I’ve never seen before.’

    To finish off our chat Alphonse let us into a little of his philosophy of life:

    ‘Life is a journey that one needs to find himself through. There are always obstacles everywhere, every corner you turn. So it’s all about you trying to avoid them and trying to pass through them. Many people will try to stop you, but you’ve got to pass through it. Life has many surprises. You’ve got to get through everything that comes to you today to see tomorrow. Also your family: make sure they’re at the gate to get through with you. It’s all about survival. You don’t want to lose anyone along the way. You just have to move forward, and keep your mind forward, and see what tomorrow brings you.’

    We hope all the best for what tomorrow will bring this multitalented and sincere young man who has contributed so much to the WEYA family.

    Article by Kendra Keller, Western Edge Youth Arts

  • Caliban Tour Announced

    We are so pleased to be able to announce the May 2018 tour of Caliban! This topical work, which premiered with a packed season, and five star reviews, at the Coopers Malthouse in 2016, will now reach audiences across Victoria.


    Caliban has been accepted onto the 2018 VCE Theatre Studies Playlist, which is the list of recommended shows for Victorian high school drama students. So lots of young people will be seeing the show and getting inspired by the work of our amazing emerging artists!

    Thanks to Australia Council for the Arts, Creative Victoria and the Besen Family Foundation for believing in our work and making this tour possible.


    Tour itinerary as of 12 December


    May 14 : Potato Shed, Drysdale 11am

    May 16: Riverlinks Arts Centre, Shepparton 10.30am

    May 17: Wyndham Cultural Centre, 8pm

    May 18: Bowery Theatre, St Albans11.00am

    May 22: Bunji Place, 6pm

    May 23: Bunji Place, 10 am and 12 noon

    May 25: Wellington Entertainment Centre, 1.30pm

    May 31: Mildura Arts Centre 7.30pm


    Times and dates may change, so check website for updates!

  • We are moving!

    We are super excited to announce that we are moving! After nine years based out of the Phoenix Youth Centre, WEYA will be taking up residence at Kindred Studios form 1 December. We are looking forward to being part of this vibrant creative space along with many other artists and creative entrepreneurs, as well as excellent rehearsal spaces and facilities, not to mention an on site coffee baristar! Give us a couple of weeks to settle in, then come say hi, coffee is on us!

  • Stealing meanings: does measuring quality in the arts mean imposing cultural values?

    Congratulations to WEYA Artistic Director, Dr Dave Kelman, on the publication of this article in the International Journal of Inclusive Education, August 2017.

    Stealing meanings – does measuring quality in the arts mean imposing cultural values?


    An examination of the community youth theatre practice of two groups of culturally and linguistically diverse emerging artists from refugee backgrounds reveals the importance of ‘messages’ in their work and the strong connection to social context. This connection is illustrated by comparing the emerging artists’ perception of the meaning of their art-making (in terms of cultural representation and identity politics) to community audiences’ response to performances. This complex social dynamic is contrasted with the growing practice of using of standardised categories and metrics in an attempt to quantify the value of such arts practice. This approach is problematic because it imposes cultural values on communities and can distort the meaning of community arts performances reducing their social value. The concept of intrinsic value is analysed in relation to the current theoretical discourse on this subject and the criteria used for measuring it are scrutinised and critiqued. The article argues for the importance of allowing community audiences to respond to performances in their own terms because this is integral to the process of how meaning is generated through performance.

    We have a limited number of free downloads of the full article from the publisher. If you would like to access the article, please contact us to request the free download link. Alternatively, it is available for purchase here.