The AFL Grand Final was held interstate and the race that stops a nation is now an empty event.
Melbournians emerged into the sunlight, after the best sports part of a year in the dark; few know how the Australian Open will play out. However, a heavy weight boxing match of Giants has been taking place right before their eyes, and many have missed it.
In the first corner, we have the heavyweight; a man of muscle that has been known to do some shifty moves in his time.The BIG M.
The Fringe Contender is a qualified opponent, who has worked his way up the ranks in order to challenge for the world title; a silent achiever known as MR A.
Although both are Australians, the BIG M, likes the multi-platform, he is a world player. MR A, is a local lad and an international sweetheart. Big M comes out and the audience boo and hiss, the band plays a tune and the balloons rise for the Champion title holder. He is a tad fat, from lack of contest and luxuriously living. He is renown for the cork-screw punch.
Mr A , although reserved and skinny, is a bit of a Sugar Ray Robinson, he packs a pound for pound punch. The media is clearly on his side, hoping for a new champion, however they are on BIG M’s payroll. It’s an nail biting event.
The crowd chants “FREE ASSANGE” and the white gloved Murdoch mob in Hugo Boss wink.
In the Murdoch corner, the Globalists unpack their Agendas 21 & 30, de-population, full-term abortion, surveillance for protection and global warming. Its clear that BIG M has a hard sell but a space mission to a desert planet, pumps up the pitch.
Its a ‘rabbit punch’!
MR A’s, secret family, Stella and the boys, fret from the front row, its not looking good. Mr M releases the upper-cut, the famous ‘sex scandal’ morsel. The crowd love it and now they gnash their teeth at the lad from OZ. The BBC shift sides. as Assange is thrown off balance and can only ‘shoe-shine’ his opponent.
Whistleblowers of conscience sneak out of the arena as their star is dragged off the ring in handcuffs. Those that continue doing evil, will now continue to do evil, as the only 4th Estate, the underdog is cut off and behind bars.
Assange has got ‘no names’, despite the torture that has ‘shopworn’ his fight. The frozen media abandoned him or are no more,( some states don’t have staff ). He’s on the ropes. The nation is on the ropes.
The whistleblowers hide. The voice for the innocent is cut.
I will stand at my Watchpost, I will station myself on the Rampart.
‘Violence against women occurs across cultures and communities. It takes many forms, including physical, sexual, social, emotional, cultural, spiritual and financial abuse, and a wide range of controlling, coercive and intimidating behaviour. Regardless of the form it takes, it is understood to be most often used by men and its impact is to limit and control women’s independence.‘ White Ribbon
How did the need for women to enjoy the right of personal freedom and safety get so tangled up with a minority of women drawn into sexual exhibitionism. The word is INDUSTRY it’s essence is Corporate. Sex sells, so regardless of how many women and girls are beaten and raped, the magazines ramp up; serial rapists/murderers are the main themes of TV crime stories and pornography is the Porn Industry. The Slave trade is a thriving ‘industry’. To abuse women is profitable, to deprive them of property reduces their social standing and their ability to ward off poverty.
Few people are aware that Corporations have deemed themselves Persons, therefore enabling themselves the protections that were designed for the vulnerable. Sexism is a incorporated crime, fuelled by the media and ignored in the community.
A true story of an Australian Woman.
I left my husband due to Domestic violence, not the type that hit but rather a tyrannical power that undermined the safety of my son and myself. I left him with the property as I wanted a clean break.
With a small loan I built a modest house. No sooner had the garden been planted, a neighbourhood gang of men accumulated outside my fence in the dead of night and ripped my front fence down. From my bedroom window I watched the violent force they used.
Every night they came. Sometimes to steal and sometimes to destroy.
They did the rounds, targeting Single women of the neighbourhood. A woman knocked on my door after the police car pulled away one night and asked. "Is it happening to you also?"
A girls refuge in the area had burnt crucifixes on the front lawn.
I eventually gave up and rented in town, by this time, I had lost my house,suffered PTSD, fear of the outdoors, insomnia that lasted 4 years and migraines, but still had the task to raise my son. There was no time to recover, I had to work.
‘White Ribbon Australia understands that the range of types of violence and their impacts on women and girls occur on a continuum, so that behaviours such as sexist jokes are seen as resulting from the same culture that enables physical and sexual assault, and murder of women and girls.’
Recently I overheard a conversation of some couples enjoying the outdoors and a few drinks with their meal. A conversation between a couple went like this..
HER: " Don't get drunk"
HIM: "Shut up C_ _ T"
‘And what about teenagers and girls, who are growing up in a climate of corporate paedophilia and hyper-sexualisation? What is feminism going to do about this sordid mess.’ Due/Simic
Violence against women is not hidden, its in plain site. A brothel in St Kilda boasts of having ‘Women on tap’ on an ugly sign, displayed on one of the busiest roads in Melbourne. We need to consider the boundaries that we are tearing down in the name of progress.
Quotes from White Ribbon website
& The Great Feminist Denial. Monica Dux/Zora Simic Melb Uni Press 2008
They took all the treesPut 'em in a tree museumAnd they charged the peopleA dollar and a half just to see 'emDon't it always seem to goThat you don't know what you've gotTill it's goneThey paved paradiseAnd put up a parking lot
Surrealism was born during the lunch break between the wars, a century ago. What had become of the precious Earth, of life. Nothing made sense anymore. The bombing catastrophes of crushed homes and disfigured people. Normal life was a nightmare and people couldn’t talk openly anymore, so surrealism became a language also; a visual code.
In 2009 the NGV hosted the Dali exhibition ‘Liquid Desire’ and the most haunting and disturbing painting was Mountain Lake (1938). The painting captured the helplessness of what was coming.
The backstory was that the communications between Neville Chamberlain, the British prime minister; and Adolf Hitler were cut, leading into the horrific 2nd War. Dali’s works are full of crutches, just as Melbourne artist John Brack’s shop windows, are of artificial limbs, for the war veterans that came home.
The war broke out in 1914, but before the turn of the Century the Pre-Rapaelites were encouraging people to return to nature.
What will the artists say now. Apartments have become prison cells. The health concerns are genuine, but we need to think in our isolation, where Australia will be in the future. Not just for us, but for all of us. We are not media fodder, we are an educated and intelligent community.
Armies have fought for our freedom.
The world has not been that kind to its creative minds. They are different, and when they warn, nobody listens. Our country was de-regulated when our Government was looking into its pocket, instead of the future. Property was once just a home, not a card deck for speculators; but without industry what else can we offer. We have crushed the hope of young families having a home. What is the option?
The Agenda 21 folk have an idea, I don’t think its a very good one. De-populate and put people in high rise ‘Commission’ type of flats. I personally like fresh air and a step to sit on, in a yard, with a nice tree.
Local street artist Peter Drew is looking forward to a hug.
Australian Artist, Ben Quilty explores the depth of death, particularly murder, and the brutal assault of hastening it’s arrival. He is on tour through the desolate heartland of emptiness, an intrepid explorer, however climbing Everest is not his goal, his road leads into the deepest darkest terrains of the human experience.
“I am interested in humans”
Quilty was engaged as a War Artist for Afghanistan. The experience brought him face to face with Australians that are endlessly jeopardising their own mortality and live within a violence that has been raging for 18 years. Many have lost their lives and limbs, whist Post Traumatic Stress Disorder has gorged trenches, within the soldiers minds.
The Gallery visitor that has just had a glass of wine over lunch is taken into a war torn Earth, of shores littered with abandoned life-jackets from a fleeing population, naked soldiers shivering with PTSD and picnic spots that robbed Aboriginals of their life, dignity and history.
The crisis of war washes up on the Grecian shores, as refugees flee their homeland to find safety abroad. The refugees have left all of their belongings and donned lifejackets to cross, freezing sea’s in the black of the night. The reality of the Syrian crisis has not infiltrated the ‘connected world’ and the lack of response, drew the artist in. He intends to make the public aware of the trauma these young children are experiencing, by publishing a book of artwork by young Syrian victims.
“My work is about how to live in this world”
In his homeland, Quigley explores landscapes of the Australian Genocide against its Aboriginal population. In his Rorschach landscapes of Fairy Bower and Amata, the artist documents a howling dark presence in place of a tribal home where children would have ran happily through the trees and bathed in the waterfall and its streams.
Quilty explores humans wrecking havoc on other humans, because they can, or are obliged to, within the social framework of the current systems. Environment’s may appear inviting and innocent but Quigley examines that which is lurking beneath. There is an anger in Quiltys work, he is hurting and you must too.
Quilty is a proficient landscape and figurative artist that can morph into a nightmarish surrealism. Quilty is battling a demon much larger and more connected than he. He wants justice, the paintings are the evidence and the gallery space is the court room. Quilty has managed to captured the attention of the art public with his profound statements in thickly plastered paint.
Like Van Gogh, he uses sculptural paint and his tortured metamorphosis are in keeping with Brett Whitely and Francis Bacon.
Quilty’s has witnessed war and it has taken its toll on him, as an artist and a human he has walked amongst the disenfranchised and documents their experience. Where journalists have dropped off , the social issues, like leaves, Quilty has become Australias fourth estate, placing the news, no longer in the paper, but on the walls. Quilty challenges us to look into our own backyard.
Many Christians will Celebrate Easter on Good Friday (the crucifixion) and Sunday for the resurrection, few Churches will be following the Passover rite. Passover traces back to when a population of Slaves, that were the descendants of 12 brothers, fled from the tyranny of an Egyptian dictator.
Moses, a man that spoke with God, entered the battle with his walking staff. He trusted that God would do what he claimed he would, this entailed an environmental disaster of dead fish, plagues, ruined crops, diseases and the loss of live stock. The Pharaoh refused to allow the release of his work force. Moses threatened the death of first borns if the demand was not met.
The death of the first born was not limited to the Egyptians but would effect any home that did not have the blood of a lamb on its doorpost. The angel of death was not told to avoid the slaves but only the doors that had the innocent blood of the lamb. Technically Egyptians were not excluded, if the Pharaoh had the blood on his doorpost, the Angel would not have killed his first born.
‘You saw the suffering of our ancestors in Egypt; you heard their cry at the Red Sea.You sent signs and wonders against Pharaoh, against all his officials and all the people of his land, for you knew how arrogantly the Egyptians treated them. You made a name for yourself, which remains to this day. You divided the sea before them, so that they passed through it on dry ground, but you hurled their pursuers into the depths, like a stone into mighty waters. By day you led them with a pillar of cloud, and by night with a pillar of fire to give them light on the way they were to take. (Nehemiah)’
When Jesus (Yeshua) had the Passover super with the 12 men, which he had been training, he explained that when they celebrated the Passover that they should remember him and that the wine was symbolic of his blood. Like the Passover lamb, his blood would save people from death. He illustrates the point by dying a horrific and public death and then coming back into town after the ordeal.
The Easter story has different roots, it was a pagan ritual involving a woman who married her son, some versions claim it was Nimrod. (Nimrod was the architect behind the tower of Babel) The son dies a brutal death and the mother claims he became the sun god (Baal). The mother said that she was a moon goddess and the queen of heaven. They ate sacred cakes, celebrated with bunnies and eggs.
The original Christians celebrated all of the feasts and laws handed down from Moses. They were symbolic acts that would reveal the end from the beginning.
It was dangerous to be a Christian until Constantine (Italy) became one and made it a state religion. Although the early christians celebrated Sabbath on the 7th day (Saturday) it was changed to the 1st day (Sunday) for convenience, although it had been the sun gods day. Rather than build new buildings they worshipped in the old Baal temples. The old pagan priests had to switch their style to accommodate the conversion. It was a compromise. They also changed the Calendar, so that September is the 9th month rather than the 7th and December is 12th rather than 10th. Under Catholic domination in the early Templar days, faith driven Christians were executed as martyrs if they did not submit to the changes.
‘But they, our ancestors, became arrogant and stiff-necked, and they did not obey your commands. They refused to listen and failed to remember the miracles you performed among them. They became stiff-necked and in their rebellion appointed a leader in order to return to their slavery. But you are a forgiving God, gracious and compassionate, slow to anger and abounding in love. Therefore you did not desert them, even when they cast for themselves an image of a calf and said, ‘This is your god, who brought you up out of Egypt,’ or when they committed awful blasphemies.‘(Nehemiah)
With the emergence of the internet and the increase in knowledge many Christians are returning to the Passover.
Jerusha Mather is an enduring voice of equality for disabled students seeking access into courses that they are grossly underrepresented in. Her personal journey began in Sri Lanka, where at birth, the doctors told her parents that she would never walk or talk, later she was officially diagnosed with cerebral palsy. In Australia, she received strenuous and heavy therapy and began to see drastic improvements in her physical heath.
“I was able to walk and talk – although it was not perfect, it was something of a miracle to me.”
At school, she joined the advanced maths group and was invited to participate in a statewide maths tournament. She was a Kwong Lee Dow Scholar at Melbourne University and the first to become social justice captain in high school however during her VCE exams, she was not given appropriate support.
“I was not even offered a scribe which made things challenging for me”
Despite the odds, Mather was accepted into a Biomedical Science Degree at Victoria University, a step closer to fulfilling her plan to become a Doctor.
Gender equality that has enabled women to become medical professionals has given female patients access to female doctors that share similar anatomy and conditions. For disabled patients, the opportunity to benefit from a truly empathetic doctor in a similar situation is highly unlikely.
“I believe it is because of, and not in spite, of my disability that I will make an excellent candidate to become a doctor. I have a sense of empathy unmatched by my colleagues, understanding of life with a chronic health condition and remarkable patience.”
As a patient, Mather has experienced the spectrum of health care professionals, the good and bad. She is motivated to be part of a generation of doctors where communication and compassion are paramount tools. Mather drew inspiration from the recognised and notable work of Dr Janice Brunstrom; a paediatric neurologist in the USA who has cerebral palsy.
“My career aspirations are also in neurology, though her dedication to her profession, continuous development, and desire to utilise her disability to her advantage have been a true motivational force for me.” Mather
Disability effects a high proportion of the community yet most have been denied pathways to medical training due to both direct and indirect discrimination by educational authorities. In some instances, disability discrimination is overt and direct; in others, it is founded on lack of knowledge of disability issues and inclusion practices. By law, educational facilities are to make ‘Reasonable Adjustments’ for their disabled students however the definition is vague and broad.
Curriculum adaptation needed; curriculum limited; or curriculum needs not addressed. Components of courses or post-qualification employment not accessible HumanRights.gov.au
Not enough has been done regarding curriculum needs and adaptation for people with disability. Academic courses for general qualifications contain areas that such a student with cannot complete or access. This creates difficulties with enrolment (advice and information issues), with granting qualifications or accreditation, and with post-qualification work or profession.
“There are still quite a few internal barriers for someone like me who wants to become a doctor. One of the major barriers is passing the GAMSAT. Now Section 2 is quite straight forward because I can type that section. Nonetheless, section 1 and 3 requires a fair bit of handwriting which is extremely difficult for me to complete. I think there is an unrealistic expectation for people with a physical disability to do it all in their head, which is merely impossible given the nature and complexity of such a test. I do not think that this is the only concern here, every student must undertake an interview, in which I fear the possibility of discrimination.”
Due to ACER, being an independent organization, students with disability do not get appropriate funded disability support to help them prepare for the required tests. Students with disability require a levelled playing field, where all get the same chance.
“Although the university was very supportive, we did find it difficult, however, to source appropriate academic support staff. Thus, some of my academic support workers came late to class. Some of them did not write quality notes. Some did not facilitate my independence. Some did not understand what was required of them. Admittedly, it was a bit disappointing to see.
One of the most hurtful experiences I have ever had was when a doctor (with a disability) suggested I should be a ‘grocer’. He was the last person I expected to hear it from. I also had a lot of online trolls saying negative things about me. I was bullied a lot by past mentors and GAMSAT tutors.”
Mather believes that there are various specialties that a person with a disability can display excellent competence in and demonstrate safe clinical practices such as pathology, radiology, rehab medicine and general practice.
“I am completing my honors in biomedical sciences at RMIT University this year and am hoping to do further research, but I hope that one day, I will be serving you as a doctor.”
Please sign my petition here to produce an alternative pathway for prospective medical students with disability:
Waking up on the Summer morning ,sipping coffee as the birds dart in and out of the garden, is bliss, even if the rest of the day will be spent in an office.
For warm weather the best time to come to Melbourne is between November and April. Australia is not built for cold weather, it is a beach culture, we endure July in houses that are poorly insulated. During Winter, the southerly winds off the South Pole shred through thin walls and coats, but in Summer it’s a cool change that swings a scorching heat into an icy gail. Melbournians wear layers because random weather changes are expected.
When the sun is out the locals are basking. There is a mass exodus to the coast in January, Easter and Public Holidays, if your planning an Ocean Road tour during these times book early. Bayside beaches fill up and most Tourists head for St Kilda but South Melbourne and Brighton Beaches are more relaxing.
Inner city Melbournians, get up early on Saturdays and have breakfast together in Cafes, the best places fill up quickly. On a hot afternoon, the South Melbourne market has great outdoor seating under a large golden canopy, enjoy Mediterranean cuisine and a glass of wine. Expect to eat dishes from all over the world, each new flood of settlers has brought their food culture with them and each gets its day in the spotlight. Currently everything is ‘infused’ with something Asian.
Sth Melb Market
If the weather turns foul, which means the ‘cool’ (freezing) change came early, head to the NGV Gallery at Federation Square and take in some Australian Art. The City is proud of its Artists but Sport is given most sponsorship. The Art is world-class but under promoted.
NGV Australia ; FedSq
Sandra Hill’s; Beyond The Pale 2010 (currently on show at NGV Fed Squ.
The Docklands is a relatively new development with ‘state of the art’ architecture, just behind the Southern Cross Station on Spencer St. It has a futuristic opulence , a skating rink and the Southern Star.
Trains and trams are the main form of transport and very well mapped, it’s easy to follow.The MYKI card works for locals but is not visitor friendly as you have to buy it to get around. Transport inspectors can be a bit intimidating so it’s important to get one. Currently the City has all night transport on Friday and Saturday nights.
Great places for dinner are Smith, Gertrude and Brunswick Streets in Fitzroy. It’s a fabulous block of ambitious ambiance. A historical area where hustlers and artists have had ‘their day’. but currently it is urban cool.
Melbourne has great theatre but if you want to catch a local act for under $30, after dinner there are some quaint venues; The Butterfly Club, La Mama, The Owl and Cat and The Meatworks, (just to name a few) are close to town and have their own character.
Butterfly Club City
Owl & Cat Richmond
Raglan St. Nth Melb
Mechanics Sydney Rd
Bars are numerous and many are tucked into the lane network that are the life beat of the town, most often decorated with great Street Art. Roof top bars are great on hot nights but most places have outdoor heating when it’s not great.
The highlight of Summer is the Australian Open and the best place to watch it is at Federation Square in a sun-chair. Despite Australian pride of designer beer and class wine most public places are dry. On New Years Eve drinking is banned on public Bayside beaches so cancel the beach party.
Melbourne was once called the ‘Garden State’ as we like our trees. When its too hot for the beach there are great Botanical gardens and the Ripponlea Estate offers shade and a cafe. The changeable weather has created a fashion consious culture and there are plenty of shopping strips and malls to cater for discerning tastes or a bargin.
Mirka Mora @ Gorman
Summer essentials are thongs and light coat. We all talk about the weather; we complain when it’s hot and when it’s cold.
When your energy levels are low and each day seems the same as the last, it may be time to get-away. A week-end retreat keeps it simple and offers an opportunity to step-back from the race and breath.
The Resting places
The Daylesford Hotel
The Daylesford Hotel
Whether in a simple room above the Daylesford Hotel, or an Airbnd off the beaten path; the time away will reignite your dwindling flame with country vitality and charm.
The main strip offers cafes for morning coffees and brunch in front of open fires as the cares fall away. Some Tourists come up for Spas and Massages but don’t need them after a day of wondering through antique stores, art galleries and climbing up streets without the visual insult of ‘development’.
are located at the top of the climb and few tourists are up early enough for a Sunday service but that won’t stop a charming convert from offering a stranger a lift to the market, when they are only asking for directions.
Get to know the locals at the farmers market. Few stores have EFTPOS so remember to bring cash and enjoy over-sized samosas, a store devoted to mushrooms, antiques, fresh produce and a yarn with every purchase.
runs through the market, it is a living museum of leather seats and wooden panels that rattle and rock as it parades through the country side, with city folk smiling by.
Cafes spotted throughout the town for an afternoon tea or a glass of wine, many have open fires to warm up by.
on top of the hill offer botanic country paths to meander
As developers mow down the remnant of urban culture and bring the suburbs into the urban heartland, the locals are a tad P.O. Uprooting cottages for flats that look like offices, speeding down narrow streets where children play and destroying a treasured a metro arcade is ultimately changing Melbourne.
Easing through the morning at the DeGraves underpass starts the day off on a ‘good foot’, a coffee, a bit of art and a relaxed vibe. Removing this space from the Urban Art Culture would be like removing the goal posts from the MCG.
The Art Deco architecture of Campbell Arcade embraces Melbourne in1955, the salmon pink tiles, black granite columns capture a by-gone period where few examples remain. The display cabinets along the subway wall host local artists and most often a busker, serenades the office troops, as they pass.
Every morning commuters submerge under the station through Campbell Arcade and surface into DeGraves. What a great way to start the day.
The tale of Aboriginal plunder is a never-ending ballad that sings in the winds of this great country, a land that Elea (Albert) Namatjira painted so lovingly in watercolour. Namatjira’s world-renowned artistic status may have provided him with a thin shield against racism but it was easily shattered, even his greatness, wealth and innocence could not protect him from incarceration.
The legend begins when Artist , Rex Battarbee took a painting trip into the Outback, after returning from the devastation of War in the 1930’s. He met Namatjira and it was through their collaboration that the 30-year-old Aranda man learnt to paint and exhibit. They went onto become lifetime friends, able to see pass the bigotry of the day.
International success took this humble man to great worldly heights, he was awarded the Coronation Medal and was the toast of the town. His exhibitions sold out shortly after they opened and most kitchens had one of his reproductions on a calendar or tea towel.
Before the 1967 Referendum, Australian Aboriginals where denied Human Constitutional Rights and were categorised as part of the wildlife or wards of the state. They were denied most basic human rights and in an insipid twist of irony could not own their land as it had been acquired by the Commonwealth.
Namatjira’s unprecedented rise on the world stage would require him to have a passport and his growing wealth attracted taxes, thus him and his wife Robina were given Australian citizenship in 1957, enabling him to buy a house in Morris Soak .
Unfortunately his children were not granted citizenship and were regarded as ‘Wards of the State’ as all Aboriginal people were. They did not have the right to choose their marriage partner, be legally responsible for their own children,to change location or socialise with non-aboriginals. It also meant that when the Great Artist and his wife died the Legal Will that aimed to financially protect their children was made void as his children belonged to the state. Their financial copyright royalties were ‘acquired’ by the state and sold on.
The Namatjira Project began as an objective to buy back the royalties (which will expire shortly) but has become a legal investigation.
The most moving part of the film is when Namatjira’s homeless grandson gives his artwork to the Queen in her palace and walks away empty-handed. The documentary is a thoughtful journey, full of beautiful archives and an artistic vision, they tip toe over a mine field but I think they have let off a bomb.
*Due to the humane efforts of The Namatjira Project, the Royalties have been returned.
Another victory in justice for the family
The Namatjira Family continue the water-colour tradition as their cultural inheritance.
A Message from the Family
It is a with a heavy heart that we write to let you know that our dear friend and watercolour artist of true talent, Kumantjai K Namatjira has passed away. On Saturday afternoon 3rd November in Alice Springs Hospital, he bid farewell, surrounded by family. One year after his cousin, Kumantjai L Namatjira, and 5 years after meeting The Queen at Buckingham Palace.
by April Forward
THE NAMATJIRA PROJECT
DIRECTOR & CINEMATOGRAPHER Sera Davies
EXECUTIVE PRODUCERS (CULTURAL)
As the last veil of sunshine and warmth left our streets at the end of June, a shadow fell like doom and cast us into our beds with flu’s. June was invigorating, July is dismal. Fortunately there is the The Tour De France to remind us of a Summer, somewhere.
Sorting through the closet each morning to find something warm to wear is challenging and reduces the rotating option to the point where black is best. There is nothing more unnerving than looking out of the window, before heading out, and seeing the trees twisted over by the wind. For bike riders, it tests endurance.
During Summer people proclaim winter is great as you can rug-up, mmmm, wind and hail are stronger. In the sunny season, they say, it’s cosy in front of a fire, mmmm, who has an open flame? They say it’s easier to get warm than get cool, mmmm, my bedroom is an ice machine.
What to do?
The Clever ones are exploring Central Australia, cruising the Islands or flying North. For those that forgot to book the early-bird airfares there are a few local options.
Option 1. Head to the snow, you can buy bus day-passes at Southern Cross railway station, on your way home from work.
Option 2. Do Christmas in July, make it fun.
Option 3. Book a ticket on the ferry to Tasmania, be fearless.
Of Course, there is football.
On that happy note, be brave, drive carefully and buy orange juice.
Lionel Rose was unaware of the National Pride that he had evoked. When the plane landed back in Melbourne in 1968, thousands of well dressed white people cheered from the tarmac and balconies to welcome home the Aboriginal Star. A convertible was parked awaiting his arrival.
” Who are all these people waiting for ?” Rose asked the Air-hostess. He thought that maybe a The Beatles had arrived at Essendon Airport.
“You” she replied.
Lionel Rose was a National Boxing Hero after he won the Bantamweight Title by beating Masahiko ‘Fighting’ Harada, the Japanese Champion in Tokyo.
People had sent gum leaves over to Japan in support of the young boxer.
Lionel Rose was propped up at the back of the convertible so that the roaring crowd could get a good look at him and shake his hand as he passed. A ticker-tape parade down Swanston Street had been arranged, and the street was lined with 100,000 Melbournians, cheering the Aboriginal man. He went on to become The Australian of the Year in 1968.
Aboriginal people had been granted Australian Citizenship in 1967 which meant that Rose could obtain a passport, buy land and obtain legal rights. The constitutional Referendum, to allow Aboriginals rights, was voted in favour by 90.77 of the population, on the 27th of May. Rose won the Title on 26th of Feb, which meant that the 19-year-old had been an Australian Citizen for 9 months. Rose was a Celebrity for both Aboriginals and Caucasians, when the fight against racism was still on shaky turf.
Rose was the first Original Australian to be named Australian of the Year. When accepting the award, he said;
“One hundred and eighty-two years ago one of my mob would have been a dead cert for this.” (www.australianoftheyear.org.au)
For some it’s an annual 4 day Autumn weekend, mass exodus to the coast.
For others, it is the EXODUS
It’s that Holy time of the year for Jews and Christians, Passover and Resurrection rituals reminding the faithful of a power stronger than death. Revolutionary leaders such as Martin Luther King and Gandhi have drawn from these ancient beliefs to alter the fate of the future. The original set of Commandments were the moral compass for the refugees that were escaping slavery and dreaming of a better place.
Although Jews, Moslems and Christians are keen to point out their differences, the ‘top ten’ applies to them all.
“I am the Lord your God, who brought you out of the land of Egypt, from the house of slavery.”
2. NO IDOLS
“You shall not recognise other gods before Me. You shall not make for yourself a carved image, or any likeness of what is in heaven above or on the earth beneath or in the water under the earth.”
“You shall not take the name of the Lord your God in vain, for the Lord will not leave him unpunished who takes His name in vain.”
“Remember the Sabbath day, to keep it holy. Six days you shall labor and do all your work, but the seventh day is a Sabbath to the Lord your God; you shall not do any work, you or your son or your daughter, your male or your female servant, your animal or your stranger within your gates.”
“Honor your father and your mother, so that your days may be prolonged in the land which the Lord your God gives you.”
“You shall not murder.”
“You shall not commit adultery.”
“You shall not steal.”
“You shall not bear false witness against your neighbor.”
“You shall not covet your neighbor’s house; you shall not covet your neighbor’s wife or his male servant or his female servant or his ox or his donkey or anything that belongs to your neighbor.”
“We must learn to live together as brothers or perish together as fools” Matin Luther King
For Christians there was an add on.
A new commandment I give to you, that you love one another: just as I have loved you, you also are to love one another. By this all people will know that you are my disciples, if you have love for one another.”
“The true measure of any society is how it treats it’s most vulnerable members” Gandhi
The Australian Ballet presents new original work from current Choreographers that explore dance within our contemporary setting. The three acts are Faster,Squander and Glory and Infra.
There are no tutu’s , all are stripped down, very physical performances with strong male leads and a sense of urgency.
” I love the story telling and its ability for anyone to create their own interpretation and take away a unique experience.”Kevin Ho
The richness and pain of life takes place behind closed doors in our most intimate spaces. The drama of being unfolds, between the gaps of daily life. The ‘must do’s’ have no time for the intimate condition. The ‘must do’, is the daily travel to the daily toil. The other stuff is the real us.
English Choreographer Wayne Mc Gregor of the The Royal Ballet, explores the intimate in contrast to the business of life. As rich and deep as our lives are or are not, we dwell within a larger context . Those that fall out of the ‘infra’-structure, fall alone.
The ballet explores social and political content in dance, yet it is deeply sensual. There is a tribal call away from the world into the instinct. The male soloist that stands in for that call, is memorable in its power.
SQUANDER AND GLORY
Both Australia and Melbourne can be glad to boast of a choreographer as creative and insightful as Tim Harbour. Like INFRA, Harbour seems to be exploring the complexity of intimacy and power. Kevin Ho’s structure appears like a sculpture but looms as much more. The dancers sway to the cult of obedience as though the monument dominates them.
“The negative spaces that surround me…an instinct to carve out those shapes” Harbour
Visually every aspect of the work is sculptural, even the music seems to be in the act of carving. Every muscle of the dancers bodies cuts into a cubist texture, using light and shadow to enhance the effect.
Faster opens the triple bill, created in 2012, the year of the London Olympic Games, choreographer David Bintley recreates the drama.The Games are the ultimate statement of giving up everything to be first. To place it last rewinds us to how we got there. Faster, Greater and Better? How much personal ambition does it take to be a winner.
The dancers within Bintley’s work interchange into human and non-human parts. They may be a spinning disc or an abstraction of an ego. It explores the outer and inner world of the athlete, the frustration and self-abasement to the harmony of the work coming together within a united self.
This Triple Bill offers contemporary Ballet lovers, a physical. emotional and creative journey. They are raw and sensual Ballet’s that allow the dancers to explore new physical boundaries of space and movement.
“It’s always been about sharing stories, identity loss and grief, determination , imagination , self belief, cultural integrity, hope and justice, reliance , cultural pride, and more than anything it’s about my people’s survival of spirit.” Hill
Noongar woman, Sandra Hill was a stolen Aboriginal child that was forced into foster care at the age of seven by the Australian Government due to the Assimilation Policy that was still active in 1958. Four children were removed from their mother’s house, they included her self , her two sisters and a brother. They were the 3rd generation of children removed from this family line.
‘In 1994 Hill was employed as the Aboriginal Community Cultural Officer. During this period she applied for, and was awarded, a Creative Development Fellowship from the Aboriginal and Torres Strait Islander Arts Board of the Australia Council for the Arts. This afforded her the time to carry out research relating to her life experiences as a member of the Stolen Generations’ (extract from Design & Art Australia on-line)
Hill’s work is held in many private collections and is also represented in Major Art Galleries throughout Australia, currently her mixed media work “Beyond the Pale’ is on display at the NGV Ian Potter Gallery at Federation Square in the Australian Art Exhibition. She explores domestic labor as part of the ‘Assimilation Project’.
In the past, Domestic colleges were set up to train poor white girls and ‘half-caste’ Aboriginal children to attend to the needs of the wealthy.
‘In the early issues of Home Beautiful there was a feeling of nostalgia for the passing of an age in which almost everyone in the middle and upper classes could afford to keep a live-in maid. Even at the turn of the century , architects and designers were discussing the ‘servant problem’ and trying to come up with ways to help women face a future without servants’The Australian Home Beautiful, from Hills Hoist to High Rise.
ref: page 73, Household Help: The Servant Problem. The Australian Home Beautiful from Hills Hoist to High Rise Hardie Grant Books Oliver J.
It’s fascinating to imagine that female convicts on ships to Australia, were sewing beautiful quilts. They were leaving heavily populated cobble streets and embarking on a tour into the wild unknown.It was a place where currency was rum, women were few and some unthinkable dark terrors took place.The unfree made free and the free made unfree.
This quilt was created by the women on board the Rajah in 1841, they were taught by Elizabeth Fry, a Quaker reformer.
‘The Australian quilting tradition developed in response to a unique set of factors that sets it apart from other quilting traditions internationally.’ NGV
There was the odd sailor that picked up a needle and thread and made his own quilt.
This example is a work of Art, an intricate geometric design, with a contemporary feel. The beauty of the quilt is that it is also functional. The time poured over the work creates a meditative element that transfers an emotional or spiritual quality to the work.
During WW1 and WW2, ‘quilts were a means of rallying support’.
To this day, some churches still create quilts to place over the unwell. The quilt can also serve as an historical piece, recording the members of a congregation, club or school.
Some stitched a bit of wisdom to guide the next generation.
The charming Westbury quilt was created by a Tasmanian family, it was intended to be a raffle prize. Its a mix of British domestic influence and Australiana.
Others competed to be the ‘craziest’ of the ‘crazy quilt’ fashion, that was the sewing movement at a time, when European Art was shaking off the shackles of the past. The British settlers had no cultural roots in Australia, they could push the boundaries of traditional Arts.
Some caught the eye of the galleries to be immortalised. Mothers often sewed quilts for their children or were given to them by a loving friend or family member. Mary Jane Hannford’s ‘Goodnight Quilt’ was made for her 11 year old grandson.
‘The subject matter of Hannafords quilt includes patriotism, religious faith, the love of Australian wildlife and the marking of key family events’
Some works were sewed roughly, not for beauty or art but for warmth. The gathering of discarded clothes, recycled into a rug. The perfect art for Depression and War when materials are few and patience is limited.
‘real rag bag waggas, hessian bags or patchwork-covered army blankets, but still rich in the memories embedded in their cloth.’ Annette Gero
It’s a pictoral exploration into our past, through fabric. Mostly, but not exclusively a womens history. Sewing groups were also social and community acts. It’s an engaging exhibition.
During war years, the Melbourne art scene dragged itself away from the safe bush scenes and began making social comments through expressive art. Urban hardships were the realities of the day, and the war brought home Surreal experiences. The struggle for survival opened up a marginal void, that the new bohemia were ready to fill. Eccentric aristocrats were the lifeblood of Melbourne Artists during the new Modern Movement. There were two major camps that drew in the cream of new art. The Reeds established a shelter for artists at Heide, in Heidelberg and Meric Boyd’s ‘Open Country’, in Murrumbeena, challenged the status quo.
Both had an open door policy for emerging artists; Meric Boyd built a kiln on the property and encouraged his children to be active in the hub that gathered there. The kiln would eventually fire-up Arthur Boyd and John Perceval’s, emotive and provocative sculptures.
John Percival The Acrobat Angel
Perceval; The Acrobat Angel : Boyd; 30 Pieces of silver
Boyd’s style grew in Open Country but manifested in the South Melbourne paintings. During the dark war years, he suffered from a depression.Like Perceval he saw the depravity of urban life and drew upon motifs that would be symbols to became part of his pictorial dialogue.
‘the man in wheelchair, the cripple on crutches, the tormented naked lovers, the beast, the chimney stacks and the gargoyles.’ Sasha Grishin
Boyd, Percival and Tucker explored the moral decline brought on by the American troops stationed in Melbourne; the confronting work does not shrink from climate of prostitution in the City. England sent Australian troops to India to guard its riches and the Americans stepped in to protect our land and befriend it’s women.
Albert Tucker Victory Girls 1943
The Reeds harboured Sidney Nolan as he avoided military duty and the Kelly series expressed his new outlaw status.Nolan was Sunday’s prize bull, she wanted Europe to embrace him, but the modern world rarely looked our way.
Joy Hester was coaxed and chastised by the wilful Sunday and she would occasionally slip over the river to the Boyd’s camp. Tucker would have a love/hate relationship with the Heide crew, as his personal involvement with Hester intensified.Their Love Child Sweeny, brought Mike Brown into the brood during the later years.
The Reeds were determined for Melbourne to be the capital of figurative art and hoped to expel the growing appeal of the American movement of Abstract Expressionism.The 1959, Antipodean Exhibition drew in artists from other camps who signed and battled over the direction of Melbourne Art. John Brack supported the figurative art stance but withdrew from the show due to the politics. He had avoided the ‘hot-bed of art groups and shared a studio with his life long friend, and fellow artist Fred Williams.
During the war years the Paris Art scene was kept in darkness. American Abstract Expressionists stole the limelight, it could have been the Australian figurative movement and for good or bad, it could have led world art into the heart of Melbourne. It was a radical and unique period in art history.
The other major art groups in early Melbourne were Dunmoochin which included Clifton Pugh and John Olsen. Montsalvat was set up by Justus Jorgensen and drew strongly from European influences, particularly in its architecture.The town was relatively young and most of the artists had studied and knew each other through the Gallery Art School.
Mirka Mora arrived in Melbourne, like many immigrants, her family was escaping the persecutions and atrocities of the war. Local artists frequented the Mirka coffee shop and Mora flirted between Heide and Open Country camps.She sewed a dress for Sunday and her children played amongst the Boyd’s kilns. She supported Joy Hester by exhibiting her on the café walls and as her families hospitality businesses grew, so did her presence as an Artist.
Mirka Cafe opening
Charles Blackman was a regular customer at Mora’s cafe, the family had a reputation for supporting and feeding local artists.Despite the energy and personal finances Art Patrons offered, the artists knew that they would have to leave Australia to further their careers. The public enjoyed modern housing,appliances and clothes but they were closed to new ideas and clung onto Colonial Art.
Open Country at Murrumbeena
‘In 1963 after having achieved a degree of recognition and financial security, Percival and his family joined the general exodus of artists and left Australia.’ Sasha Grishin
Boyd had already moved his family to England. Open Country was torn down, to make way for a block of flats.
Banner Photo Athur Boyd butterfly Man 1943
John Brack NGV 2009; p156
Australian Surrealism and its Echoes NGV 2015; p70
The Heart Garden Sunday Reed and Heide Janine Burke Vintage 2004
Australian Art A History, Grishan S, The Miegunyah Press,2015; p333-347
Crowds gathered around NGV International on the crisp cool Saturday night, to enjoy the White Night projections. The mood was relaxed as the audience waited for the remains of the day, to become night.
The projection used the entire space of the facade, a perfect blank canvas for award-winning artist Josh Muir. Emma Donovan and James Henry provided the haunting soundscape, it was a flawless collaboration. Still Here was a visual feast with a political edge.
It began with a bird flying peacefully across the building, followed by an eruption of circular abstract formations, representing creation. The new scene was of Aboriginal men on the beach, with a catch, as the women sat in circles, chatting.
On the horizon, crosses that symbolised the coming of a new culture, draw closer and a storm thunders down, closing the curtains on that era.
In the new scene ,the landscape is less sympathetic, however the newly clothed Aboriginal people continue on with family life. A white van drives down a road to a family sitting together. A white man comes out of the van and pulls the child away, the parents fight the intruder but they are over powered. The child is put into the van and driven off. The mother wails as the father collapses with despair.
There is a shocked murmur in the audience.
“They are taking the kids” is voiced throughout the large gathering.
In the next scene City life has taken over, trams ‘ding’ and cars roar by. It was a blatant statement. Muir was evoking the viewer through the power of Art. It was stunning.
‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation.’ WhiteNightMelbourne
If you saw no other projection, White Night Melbourne was a great success.
Other Aboriginal Artists represented on White Night Melbourne were Reko Reno at Federation Square and Pitch Makin Fellas, a group work at The Exhibition Buildings.
When Sunday Baillieu walked out of Toorak and into the arms of emerging Australian Artists, she forsook society to dwell with bohemia. It’s not easy, to move from one class to another within a single generation. The artists may have regarded her as bourgeois but her old neighbours had labeled her a communist. She was an idealist, a task master, a romantic and art critic. Heide was her home and she welcomed artists to reside there.
Sunday and John Reed championed major artists such as Sidney Nolan, Charles Blackman, Mirka Mora, Joy Hester, John Perceval, Albert Tucker, Moya Dyring, Sam Atyeo and Mike Brown. They founded the Angry Penguins Literary magazine in an effort to evoke a response from the disinterested city.
The Reeds supported and bought emerging Melbourne and Australian art. They were overly possessive of the artists they supported but they took their task seriously. They flew the flag for Australian Art and they paid for it with Baillieu cash.
Today the twisted path Melbourne artists walk is barbed with opportunists and a sleepy audience.
Melbourne’s current Art culture is in crisis. Galleries charge artists to exhibit and the costs are high, few artists can afford to pay the weekly $1000 costs and then the 20-40% commission. For those that can afford to pay ,there is no guarantee of an effective marketing strategy. Most exhibitions draw other artists and few attract genuine patrons. At the end of a two-week exhibition the gallery stands to make profits even if no purchases were made. The artist is broke.
Australian artists rely on the generous support of philanthropist, collectors and galleys that do not charge their talent to exhibit.
Albert Tucker talks about his time with Sunday Reed at Hiede.
Demographic information allows us to predict future trends so that town development, infrastructure and social needs are available for the next generation. It is also a fascinating peep behind the closed doors of our neighbourhood. Some of the results are surprising, for instance, if both of your parents are from an Anglo Australian background you are 80% more likely to marry into a different ethnic group.
Authors of the text, Family Formation in 21st Century Australia, discuss changes that are taking place within the family format. They a Demographers and Sociologists attempting to interpret this complicated data through statistics. Ten Social Scientists explore separate themes and patterns that emerge from their research. The Editor Dr. Genevieve Heard and three of the authors Dr. Lindon Walker, Dr. Deb Demsey and Dr Kim Johnson talk to a small gathering of colleagues.
“This book tells the story of both continuity and change, it shows that Australians exercise considerable freedom of choice when it comes to forging pathways into creating families, but also that the tradition remains popular” Dr Heard claimed.
The traditional family has remained resilient in the first decade of the 21 Century, divorce rates have declined and many of these families are showing increased stability. Couples are more willing to marry than those of the previous Decade, however there are also the proliferations of new family styles. There is a rise in couples living together without formalising it through marriage. Latch relationships are also becoming more visible in the community; these are couples that live in separate households. These new types of families are co-existing with the traditional style however they are not replacing them. This mix within the community can offer a greater diversity.
Dr Walkers field of study is inter-ethnic partnering, a study that continues to interest him as it crosses over multiple aspects that include religion, race and educational levels. The study required customised data and narrowing the field of research, as there are many difficulties, such as when are you considered Australian? Despite these complications some of the results are insightful and show that the longer an ethnic group resides in Australia the more likely they are to marry out of their community, as is the case with Italians and Greeks.
Indians and Iranians tend to marry within their own community but future generations may change this trend. Some cross partnering is one sided, such as Asian women and Australian men, the reverse is less popular. The majority of children that are born from two Australian parents will marry into another ethnic group.
Dr Demsey changes the theme as she discusses same-sex families; this group has been forced to win family rights and recognition through activism, firstly for marriage rights and then for children. Demanding access to fertility clinics has been marred by political intervention such as when former Prime Minister Mr Howard defined the family as being made up of a male and a female parent.
“Every Australian child has the right to a mother and a father” former Prime Minister John Howard claimed.
Dr Demsey explains that a lot has changed since 2001 as lesbians have won the right to use sperm banks (male couples often choose surrogacy). Amendments to laws have also enabled single sex couples to live together with legal protection over property issues.
Many same sex couples have to endure aggressive attitudes within the community that puts them under pressure and destabilises the couple. They might be less likely to endure. Friendships often provide the care and support often found in family life. Nuclear family’s are not the norm and couples often live in separate households that they share with housemates. Marriage type relationships that provide monogamy appeal more to younger Gays and less so, to mature couples.
Dr Demsey draws information from studies and surveys conducted by universities. Same sex couple numbers have been increasing however it is uncertain if it is becoming more popular or that people are more comfortable in declaring it. Children that live with male couples are 5%, whereas 20% of women couples have residential children. Ironically most homosexual couples have heterosexual children.
Dr Kim Johnson’s interest was in the family studies of our Aboriginal community. Couple relationships are more common with younger adults. Within these unions, more urban Aboriginals and those with higher educations will partner outside of their community whereas rural couples and those with less education will choose an Aboriginal partner.
Aboriginal Australians have a higher fertility rate than non-Aboriginals, however it is comparable with other world communities such as what was common during the 1950’s baby boom. The most definitive distinction is that the women are more likely to start their families at a younger age, 40% are under 25. Younger parenting means that the parent is likely to be more energetic and have the support of younger grandparents that will also pass on cultural knowledge. The negative aspect of young parenting is that they might have less access to further education, employment and wealth.
The family network ideally provides a place for people to feel safe and loved, this is even more important when young children are brought into these relationships. The new family is born from a society that is re-inventing itself and exploring alternative options. It is interesting to look at the changes within ones own family, such as having children at a later age, as this is a modern invention.