The Bendigo Writers’ Festival (BWF) was thrown into turmoil just two days before its opening on August 25, 2023, when an email outlining a new code of conduct was sent to over 90 participants. The guidelines advised attendees to “avoid language or topics that could be considered inflammatory, divisive, or disrespectful.” The festival’s panels, particularly those sponsored by La Trobe University, mandated compliance with the university’s anti-racism strategy, which included a controversial definition of antisemitism adopted by Universities Australia in February.
The response to the email was immediate and significant. By the evening of August 24, several high-profile authors, including Palestinian Australian academic Dr. Randa Abdel-Fattah and award-winning First Nations poet Dr. Evelyn Araluen, announced their withdrawal, citing concerns over censorship. By the afternoon of August 25, about 30 participants had withdrawn, forcing the cancellation of the festival’s opening night address. Ultimately, BWF confirmed that 53 participants had pulled out, resulting in 22 sessions—approximately one-third of the program—being cancelled, including the closing ceremony.
The controversy surrounding the festival reflects broader tensions regarding freedom of expression, particularly for pro-Palestinian artists. Recent events in Australia have included the reinstatement of Lebanese Australian artist Khaled Sabsabi after his sacking as the country’s representative at the Venice Biennale, and the withdrawal of a government-funded fellowship from First Nations author K A Ren Wyld.
Criticism of the Code of Conduct
The BWF faced sharp criticism for its code of conduct, which many described as an overreach. Rosemary Sorensen, the festival’s founding director, characterized it as an “authoritarian abuse of power.” Claire G. Coleman, a Noongar author, labeled the guidelines as “condescending and insulting.” Abdel-Fattah articulated her disappointment in a social media post, noting, “At a time when journalists are being permanently silenced by Israel’s genocidal forces, it is incomprehensible that a writers’ festival should also seek to silence Palestinian voices.”
Academics like Samuel Cairnduff, a lecturer at the University of Melbourne, described the mass withdrawals as “a vote of no confidence” in institutional leadership. Abdel-Fattah was set to discuss her new novel, *Discipline*, which focuses on the suppression of Palestinian voices in academia and media. She stated, “How ironic that they would invite me, knowing what my book is about, on a panel called ‘reckonings’, where I’m going to be discussing a book on silencing Palestinians— and then attempt to silence me.”
In response to the backlash, a BWF spokesperson explained that the code of conduct aimed to ensure the safety and well-being of all participants, asserting it was “never intended to silence anyone.” The festival did not clarify whether the code was issued at the request of La Trobe University or why it was sent so close to the event’s start.
A Broader Context of Censorship and Risk Management
The timing and content of the code’s announcement have drawn significant scrutiny. Coleman noted that the late notice was “unacceptably short” for consideration of such changes. Cairnduff commented that this last-minute approach exemplifies a trend of late-stage risk mitigation that often leads to greater controversy.
The incident at BWF is indicative of a larger cultural shift within the arts sector. Louise Adler, director of Adelaide Writers’ Week, commented on the “debacle” at Bendigo, suggesting it reflects ongoing struggles over how institutions manage risk and support artistic expression. Other controversies include actors wearing keffiyehs at a Sydney Theatre Company event and the cancellation of pianist Jayson Gillham’s concert after he criticized Israel’s actions in Gaza.
Adler argued that the arts community requires boards that understand the importance of curatorial independence and the need to support artists regardless of their viewpoints. She contrasted the BWF’s approach with her own festival’s code of conduct, which focuses solely on compliance with Australian laws regarding racial discrimination and hate speech.
Concerns about the vagueness of BWF’s guidelines were also raised by Denis Muller, a senior research fellow at the University of Melbourne. He described the code as “extremely vague and oppressive,” suggesting it would deter many writers and journalists from participating.
As the BWF reflects on the fallout from this incident, Cairnduff emphasized the need for institutions to reconsider the types of restrictions placed on creative expression. He stated, “The idea of arts and cultural expression is about freedom of expression and engaging in some of those more challenging and difficult areas of a broader social discourse.”
BWF’s controversy underscores a pivotal moment for cultural institutions as they navigate the intersection of social media outrage and traditional public discourse. The festival’s experience serves as a reminder of the importance of dialogue and the challenges faced by artists in an increasingly polarized environment.
