When I got back from Europe in September last year, I went through my usual grieving process: one minute I was walking round Goethe’s house and sipping tea in a chandelier-bedecked café in Frankfurt and, seemingly the next, I was in a yellow cab in Melbourne on my way home, Dave Hughes’ unmistakeably strident tones issuing forth from the radio, the front page of the Herald Sun screaming all things footy and, outside, Beach Road fringed with palm trees.
It’s always a bit of a wrench going from one world to the other, from my former, still parallel life in England were I ever to reclaim it, to my ‘new’ life here. A bit like those early settlers I read about in the Tasmanian Museum and Art Gallery, I have held onto bits and pieces from my original home and country as part of the re-settling process here. But at what stage does the new life cease to be new?
I think, in my case, it’s probably already happened. And any newness is simply a figure of speech and a way of distinguishing my life before and after my move to Australia. I’ve now lived in my Bayside suburb for twelve years – the longest I have ever lived in one place – and it does feel like home. Apart from putting my own stamp on my house and garden, getting a dog really helped me to put down roots. I’ve got to know many people and their pooches on our daily walks on the beach or in the park, and that has created a sense of community and belonging. Bertie and I are part of the local landscape and we blend in. And we’re getting used to summer being in winter and winter being in summer.
Last time I got back to Australia and was still battling the pull-push of Europe versus the Antipodes, a friend suggested I found ways to honour my inner Brit and European. Because it doesn’t have to be an either-or situation. I have, after all, chosen to live in the most European of Australia’s cities. Since then, whether consciously or subconsciously, I’ve been finding ways to stay tuned – literally – to Europe and, as a modern language graduate, to rediscover my languages. I started by joining a German Meetup Group. So far I’ve been to a fascinating film about Techno Music in Berlin in the 80s and to a Stammtisch (an informal gathering at a bar) at the Bavarian-styled Hophaus on the Southbank. And I’ve found German cuisine in the most unlikely places. Das Kaffeehaus in Castlemaine is a Viennese café complete with red leather banquettes, gilt-framed mirrors and chandeliers housed in a former carpet factory. I spent five months in Vienna as an au-pair girl when I was 18, and I can vouch for the authenticity of the food – think Wiener sausages, schnitzel, goulash and sweet favourites such as Linzer Torte and apple strudel.
Then there’s SBS Radio and Television, a hotline to all things multicultural and multilingual. I have downloaded the Radio App and sometimes listen to Spanish news or I download the German Radio podcasts which deliver newsy and interesting items in easily digested 10-minute bites. Listening to the spoken language, its rhythms and cadences awakens dormant neural pathways and I start to remember words, phrases and expressions. Like old friends they flood back with a welcome familiarity. Tunein Radio has been another wonderful discovery; the app allows you to listen live to different talk shows and music stations from all over the world.
I love foreign language films and letting myself be transported to wherever it is. This past weekend I saw two excellent Spanish films (a rom-com set in Madrid and a quirky Mexican road movie) as part of the Spanish Film Festival. We have an embarrassment of riches when it comes to foreign language film festivals in Melbourne – French, Spanish, German, Greek, Turkish, Israeli, Russian and Latin American to name but a few, and even, last year, a BBC First British film festival showing golden oldies as well as new releases.
And that’s not all. Palace Cinemas screen productions filmed live in HD from London’s Royal Opera House, La Scala, Opera Roma and the Opéra National de Paris as well as some of the best performances from the British Stage as part of the National Theatre Live program. Whoever first thought of sharing these live-filmed productions globally is a genius.
So far I’ve seen heartthrob Benedict Cumberbatch in Hamlet and Royal Opera House productions of the Marriage of Figaro and La Bohème. The joy of these performances is that you get the equivalent of front row seats for a mere $20 or so and, in the case of the operas, you can read the subtitles and follow the plot with ease. Not only that, each performance is introduced by a well-known actor and he or she goes backstage and interviews the director and actors or singers. My favourite so far has been John Copley’s production of La Bohème. Originally intended to run for a few seasons in 1947, it stayed in the repertoire for forty years, the 2015 filmed performance being the last ever.
The weekend before last a friend treated me to a surprise night out. It turned out to be the BBC Proms – the Last Night no less. Echoing the UK’s Albert Hall tradition, the program on the last night includes sea shanties and jingoistic numbers such as Rule Britannia and Elgar’s Jerusalem. It felt a bit strange sitting in an auditorium in Melbourne waving a dual English/Australian flag and belting out songs about Britain ruling the waves. I reflected that there are certain things you can’t export – it all becomes a bit ersatz. There’s a time and a place to celebrate your heritage and a time and a place to adhere to the old saying: When in Rome, do as the Romans.