The History of Melbourne Fringe

Born in part from the demise of the Pram Factory, the need for Melbourne Fringe became clear when it was noticed that the vast majority of artists presenting work at the fledgling Adelaide Fringe were from Melbourne. Clearly Melbourne was a city where a Fringe Festival could really flourish.

Established in 1982
A coalition of independent artists announced plans for a week long Fringe to coincide with the 1983 Moomba Festival. This inaugural festival included 120 artists working in the fullest range of media in over 22 locations throughout Melbourne. Although run with virtually no funding, the event overcame individual financial constraints and offered support in the form of shared resources, venues, contacts, bookings etc., and was a great success.

With support from the new Labor Government, Melbourne Fringe was able to employ five people and purchase office equipment. The organisation was up and running.

The following year saw Melbourne host the first of three Spoleto Festivals and Melbourne Fringe became the Melbourne Piccolo Spoleto Fringe Festival and ran in conjunction with that event. Upon the demise of Spoleto and the creation of the Melbourne International Festival of the Arts (MIFA), Melbourne Fringe took up its old name again.

During this period of change the Festival had remained true to its mission. As well as presenting a huge program of performing arts, music, film and writing, a number of Fringe-produced signature events had emerged. The Festival's Opening Street Party and Parade in Brunswick Street had rapidly become a massive cultural event drawing audiences of more than 100,000 onto the street to celebrate art, artists and art making and to witness a parade which has no parallel in Australia for its mix of high art, irreverence, politics and music.

Not The Archibald Prize, Fringe Furniture, New Short Works and The Women's Season were developing a reputation for presenting great and experimental art in an accessible and informal way. Many new voices emerged through these events.

In the early 1990's the Melbourne Fringe Festival moved its dates so that it had only the shortest of overlaps with MIFA. Melbourne Fringe was clearly not the Fringe to something else, but an expression of where Melbourne's artists are in their arts practice in any given year. Our artists do not necessarily see participation in the Fringe as a stepping stone to some notion of 'mainstream' success.

The Festival has grown enormously and robustly. Signature events have come and gone as the Festival has matured. Not The Archibald and New Short Works fell by the wayside, but Fringe Fashion and Fringe Architecture are flourishing in their place. It is an essential part of the Festival's philosophy to keep the program fresh and contemporary.

Although the Festival still takes place in venues across the city much of the performance program is now centered in and around hubs such as North Melbourne Town Hall Arts House, The Store Room, Trades Hall, Chapel off Chapel etc. In the last three years significant links have been made in Regional Victoria with artists and trainees coming to work on the Festival. These links culminated in the inaugural Geelong Fringe in 2000.

Our list of supporters has also grown and the organisation has become increasingly professional. We have sponsors from both the government and private sector and are proud to be able to link scarce sponsorship dollars to the independent arts sector.

However, no matter how much we grow, we remain committed to being the Festival of choice for independent art making in this city. That Melbourne Fringe has been consistently presenting more than 200 shows every year for nearly twenty years, and that this work embraces the broadest range of artforms, is created by artists ranging from mid career household names to the boldest newcomers, and includes increasing numbers of international artists, is a testament to our continued relevance.

Fringe Street Parade & Party 1990

Often I find that I am Naked 1998
Photo: S Ostes

Fringe Street Parade & Party 1985
Photo: J Mittleman