First Nations Fringe

Since 2017, Deadly Fringe has been hard at work amplifying the stories of First Nations artists and arts workers. It has evolved from a commissioning program into a nationally significant supporter of the creation of new performance, design and visual art.

In its first year Deadly Fringe supported and mentored two emerging First Nations artists in the creation of new works – Joel Bray’s award-winning biladurang and Kate ten Buuren’s dis place – alongside two emerging producers, Kalinda Palmer and Levi Weston.

In 2018, we partnered with ILBIJERRI Theatre Company to mentor two emerging producers, Caleena Sansbury and Laila Thaker, who guided the presentation of three Deadly Fringe projects: Declan Furber Gillick’s nationally recognised Bighouse Dreaming, Sandy Greenwood’s masterclass in performance Matriarch, and Sermsah Bin Saad’s Liyan.

Deadly Fringe expanded in 2019 and partnered with the Koorie Heritage Trust to support three emerging visual artists, presenting Current by Piera Van Sparkes, Kalkadoon by Arkie Barton and Edwards Gammin Cafe by Gammin Threads’ Tahnee Edwards and her dad, Uncle (Choco) Talgium Edwards, all supported by emerging producers Kalyani Mumtaz and Savanna Kruger.

In 2020 producer Tuuli Narkle supported the production of two new Deadly Fringe visual art commissions in her newly-created role as Deadly Fringe Program Coordinator. Us by Rosie Kalina and Healing through Buliana (Pregnancy) by Madison Connors were presented on our Digital Fringe platform, and amidst the onset of the pandemic Deadly Fringe directed more than $35,000 in financial support to First Nations artists and arts workers.

2021 saw Deadly Fringe keep growing under the guidance of two Deadly Fringe Program Coordinators, Kimberly Lovegrove and Digby Mercer, working under the mentorship of Laila Thaker, Eugenia Flynn and Wesley Enoch. In total six 2021 Deadly Fringe projects were presented through 2021 and 2022, including the exhibition BLAK JEWELLERY FINDING PAST, LINKING PRESENT; Bridge by Ngioka Bunda-Heath with Theodore Cassady, Gabriela Green Olea and Josh Twee; Of the Land On Which We Meet by Harley Mann;WARRIORS R OUSSS!!!!  by Racheal Oak Butler and Kamarra Bell-Wykes, Minyerra by Neil Morris, and our Design Fringe Commission: birli nganmantha (eating together) by Nicole Monks.

In 2022, all our Deadly Fringe artists were supported to grow and develop their practice, including through mentorships for three of our commissioned artists, as well as with registration microgrants, Elder Engagement, First Nations Yarning Circles, discount tickets for Mob and the guidance of our Deadly Fringe Coordinator, Peta Duncan, who has continued to work on Deadly Fringe throughout 2023 and 2024. We built on the program’s nationally recognised body of work by commissioning and funding the presentation of 10 new extraordinary First Nations-led projects, from both emerging and established artists, across a range of artforms including new writing, fashion, comedy, visual arts, theatre and an immersive participatory event. 2022 Deadly Fringe Commissions included A Rainbow of Tomorrows by Stone Motherless Cold; Drag Supper Club by Timothy Jackson; Future/History Runway by Mob in Fashion; Janet’s Vagrant Love by Elaine Crombie; Kungari Comedy by Kimmie Lovegrove; Layers of Blak (public programs) by Koorie Heritage Trust; Manta Milmilpa (Sacred Ground) by Robert Champion; Run a Muck by Ridley Livesey; The Whisper by Brodie Murray and Yalinguth Live produced by Jason Tamiru.

In 2023, Deadly Fringe’s multidisciplinary arts hub the Blak Lodge was a place where Melbourne Fringe audiences could tune in and listen to the voices of First Nations artists, amidst the disinformation and noise of the Referendum.The Blak Lodge transformed the Meat Market and featured a potent program of First Nations-led projects and artworks. This included Na Djinang Circus’ Deadly Fringe commission Of the Land On Which We Meet, the burlesque variety show Deadly Sinners in which a First Nations troupe teased out the seven deadly sins.

In 2024, Deadly Fringe continued to strengthen its commitment to First Nations creativity, supporting artists to share bold, self-determined stories across music, circus, performance, and immersive experiences. With the support of the Deadly Fringe Program Coordinator, four powerful new commissions were developed and presented to more than 1,530 attendees, building on the program’s proud legacy of backing First Nations-led work through tailored production, marketing, and cultural support.This year’s Deadly Fringe commissions included Gikilangangu Wergaia by Alice Skye, James Howard, and Michael Julian – a moving exploration of language and identity through experimental sound and composition. The work was recognised with the Best Music award at the Melbourne Fringe.  Awards. Digital Echoes by Aaron Wyatt with Speak Percussion was a boundary-pushing collaboration for viola, percussion, and electronics, tracing the echoes of sound and culture through time. It was Shortlisted for Best Music at the Melbourne Fringe Awards. This year's program also included In Place by Na Djinang Circus – a genre-defying work blending contemporary circus with emotionally resonant storytelling. Winner of Best Circus at the Melbourne Fringe Awards. Finally, Creatures of the Blak Lagoon by Motherless Collective was a vibrant, sold-out Club Fringe party combining drag, DJs, pop-up performance, and immersive visual art in a celebration of Blak queerness and joy.

Deadly Fringe continues to provide more than just funding – it offers crucial infrastructure, mentorship, and cultural safety, ensuring First Nations artists can create and present work on their own terms. The success and acclaim of 2024's commissions speak to the depth and diversity of Blak artistic expression, and to the growing audience demand for First Nations-led performance. Deadly Fringe remains a vital space for connection, celebration, and truth-telling – and a cornerstone of Melbourne Fringe’s ongoing commitment to platforming First Nations voices.