Open House Bendigo – Doorways to Fun, Friendship, Heritage, and Community

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I’ve been volunteering for Open House Melbourne for over eight years. In that time, I have had the opportunity to attend workshops and learn interesting facts about architecture, design and heritage. I’ve visited buildings and appreciated aspects and behind the scenes rarely experienced by the general public.

Open House Melbourne is an independent organisation fostering a public appreciation for architecture and public engagement in the future of our cities.

Each year more and more buildings and events are added to this fabulous weekend.  Last year they expanded to Ballarat and this year it was Bendigo. The two regional centres will probably ‘open up’ alternate years.

Both events were a great success with thousands of visitors to the buildings, not only from locals but many people making the trip from Melbourne to take advantage of the warm welcome from the regional communities.

In Melbourne, I’ve been privileged to volunteer at:

Each shift has offered unique experiences. Special ‘thank you’ events for volunteers, allowed behind the scene tours of the Phillips Shirt Factory, Lonsdale Street and Willsmere (the old ‘lunatic’ asylum).

Now open House has expanded, I’ve visited buildings in Ballarat (2017) and this year Bendigo, educating and enjoying myself in the process. The last weekends in July and October now regular dates earmarked on the calendar

Bendigo Beamed in Spring Sunshine

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Bendigo was chosen as a significant regional hub creating an opportunity for locals and visitors alike to celebrate this wonderful city. It was a chance to view different architectural styles and learn about Bendigo’s rich history, its cultural attractions and to consider how future developments will impact the city.

Despite competition from several major events occurring at the same time (The Bendigo Agricultural Show, the second Bendigo Cycling Classic, and Bendigo Sustainable House) the support for the inaugural Open House Bendigo weekend was fantastic (11,000 visits across 23 buildings)!

The weekend provided a range of talks, walks, film screenings and workshops plus the buildings open for inspection and appreciation, all encouraging an exploration of the diversity and design of Bendigo’s built environment and history.

Bendigo was proclaimed a city in 1871, the year the Bendigo Easter Fair began – Australia’s oldest ongoing festival. I was rostered on duty at the Bendigo Tramways Depot, Australia’s oldest continually operating tram depot.

 

All Aboard For A Great Ride

The Bendigo Tramways depot was built in 1901 for the Electric Supply Company of Australia Ltd. At the time of building, the property also included what is today the Bendigo Woollen Mills, which housed the steam engines, generators and boiler until 1972. The depot was completed in 1903 for the operation of electric trams. (The first depot was constructed in 1890 near the railway station.) In addition to the tramway shed, the facility included cooling ponds, a blacksmith’s shop, carpenter’s shed, elevator house, and other support buildings.

The Tramways Depot and Workshop may not have survived had it not been for the Bendigo community’s will to keep the trams running in Bendigo once they were shut down as a public transport option. This led to the introduction of the tourist tram service in 1972. The tourist tram service celebrates 46 years of service in 2018. 

The Bendigo Tramways is known nationally and internationally for its heritage tram restoration capabilities and its rare collection of heritage trams. Trams from all over the country, including Melbourne’s City Circle trams, are all restored to their former glory in the Bendigo Tramways Workshop.

 

There were guided conductor tours on the hour led by an enthusiastic and knowledgeable guide, Ian, along with a specialised in-depth pre-booked tour led by Luke, the Workshop Manager. However, when more people turned up, Luke kindly accommodated them and ended up with a group of 24 instead of 15!

The guides were extremely proud to point out the work carried out so far for the City of Melbourne refurbishing the famous restaurant trams and the vintage trams used on the free city tourist loop.

 

On duty from 9.30am to 1.00pm, I had the opportunity to chat with Pam in the gift shop/cafe. Pam warned about the dust from the imported plane trees and said a light breeze can blow the dust about and start people coughing. She spoke from experience and said if anyone did start coughing to suggest they go to the cafe and she’d supply a glass of water. Pam discovered the problem with the plane trees after going to the doctor thinking she had asthma or an allergy.

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Many of the others working at the depot are volunteers.  Ian was super knowledgeable, efficient – and passionate about trams like all the volunteers. He loved the people he met volunteering and said, ‘You know, I’ve met people from all corners of the world here. I met someone from Zimbabwe and we discussed their country. I wouldn’t have met him if I wasn’t doing this job.’

Steve, a volunteer driver, in a previous life was a stipendiary magistrate who loved trams! Another Ian was the driver who gave me a lift back to town. The tram was packed and I got to sit up front with him in the driver’s seat.

Ian has been driving the vintage trams for 17 years and when an unusual fault occurred he told me it was only the second time it had happened.

I had no idea the variation in controls until I wandered around the depot peeking inside all the different trams – some still in use, others being refurbished.

Each tram has an interesting history but without the work and passion of a team of volunteers, the tramways could not have achieved many of the major milestones and awards, especially winning gold in the 2016 Australian Tourism Awards or the Hall of Fame in 2014, 2015 and 2016 Victorian Tourism Awards.

No 7 decommissioned in the 1930s, became a sleep-out before being returned for restoration in 1988. In 2000, the body was stripped of any structural additions, cleaned and put on display.

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Tram No 30 was driven by HRH Prince Charles in 1974. This Birney tram was built in 1925 in Philadelphia USA, for South Australia and operated on the Port Adelaide line until 1935. Purchased by Geelong it operated there as Tram No 30 before being transferred to Bendigo and used for spare parts. However, in 1972 it was restored to be one of the Vintage Talking Trams and became the flagship of Bendigo Tramways.

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One of the volunteer conductors told me the story of Charles and Di’s visit. Princess Diana was standing on the balcony of The Shamrock Hotel where they were staying. Prince Charles knew she would be out there to wave and watch him drive past. He was determined she see him driving and was so excited he went through two red lights. Needless to say, they didn’t forward on the traffic ticket!

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Tram No 44 was one of two trams restored especially for the Prahran and Malvern Tramways Trust Centenary in 2010. Built in 1914 in Adelaide, South Australia for Prahran and Malvern Tramways Trust it was sold to the State Electricity Commission of Victoria in 1951 for Bendigo operations and painted in green and cream livery of the SEC. Ten years later, repainted maroon and cream, it joined the talking tram fleet.

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Tram No 84 has the most magnificent feature interior timber work of all the trams in the fleet. Built in Melbourne in 1917 for the Prahran and Malvern Tramways Trust it was later sold to the SECV in 1931 for operation in Bendigo. In 1935 it was configured to be operated by one man. It developed ‘excessive body movement’ issues and was withdrawn from service in 1965 and because of internal disagreements between supervisors didn’t return to use until 1975 when made operational by the Bendigo Trust to run on special outings. In 2010 it was refurbished to its original California configuration for the centenary celebrations of the Prahran and Malvern Tramways Trust.

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Tram No 21, an M class tram was built in Adelaide in 1917 for the Hawthorn Tramways Trust. It was sold to the SECV in 1935 to operate in Bendigo. Retaining its one-man configuration it was repainted in the SEC livery of green and cream and ran until the closure of Bendigo’s public transport system in 1972. In 1992, it was repainted in the grey, white and blue livery of Hawthorn Tramways Trust to celebrate a significant event in the history of the City of Footscray. It operated as a Vintage Talking Tram until 2000 when it was removed to be restored to its 1930s condition. Thanks to the Bendigo Tramways Work for the Dole program it returned to service in 2005.

close up front of tram no 21

Tram No 29 was the focal point to save the trams from being dispersed and sold off when the Bendigo Tramways closed in 1972. State cabinet supported The Bendigo Trust’s proposal to run a tourism tram service using the SECV’s trams and tracks on trial until Easter 1974. However, the SEC had promised Tram No 29 to a museum in Adelaide without consultation or knowledge of the Bendigo Trust.

Community anger manifested itself in a mini-uprising and blockade to stop the tram being taken out of the depot with local businesses sending their vans and cars after the Mayor used the media to rally the citizens. The furore resulted in a ministerial committee and negotiations culminating in the entire fleet being sold to The Bendigo Trust for a ‘mere $1’ in 1977.

Relations between an aggrieved South Australian museum and the citizenry of Bendigo were later assuaged by the discovery of a sister tram, also a Birney, being used as a garden shed. Representatives of the Tramways trust negotiated the donation of this tram when the owners were promised a replica of a nineteenth century cast iron street lamp created by a skilful committee member.

The tram was restored with a grant from the State Government and presented to the Australian Electric Tramway Museum, Adelaide in 1976. Proving ‘all’s well that end’s well.’

It is mindboggling to see the before and after examples in the workshop – the state of donated or discovered trams, the craftsmanship and skill applied, and the finished product of beautiful polished wood and painted tram interiors.

Of course, the depot has a special supervisor overseeing the work –

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The rescue cat, Birney joined the team in 2014. Originally, he was to catch mice but the sign on his office promotes him to Tramways Superintendent and of course, the Gift Shop has a range of souvenirs. I was lucky to see him at close quarters but with the increased visitors he wisely withdrew and found some spot in the sun far away from the madding crowds.

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A Bit Of History Puts Trams In Context

With the advent of electric trams and extended tracks ‘housewives’ moved away from their local shops in the suburbs and bought goods in the heart of the city at a time when shops didn’t close until 11 pm on a Friday night, along with many hotels. ‘As a result, there were many wavering legs on Friday evenings trying to negotiate the flagstones of Pall Mall in a desperate attempt to catch the drunk express home.’

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I had to get at least one picture of myself on a tram and chose No 8 – it was a number 8 to Toorak that gave me the inspiration to write A Ticket to Vaudeville, the first short story I received payment for when it was published in The Weekly Times in the 80s – ironically that newspaper’s head office is in Bendigo.

Bendigo’s first people, the Dja Dja Wurrung

aboriginal tram

 

The Dja Dja Wurrung Tram takes passengers on a journey of discovery into the unique and fascinating traditions of Bendigo’s first people. The Dja Dja Wurrung, one of the five communities of the Kulin people, a federation of five distinct but strongly related communities, which also includes the Boonerwrung of Mordialloc and other southern bayside places.

All Kulin had as their defining social moiety either Bundjil, the eagle, or Waa, the crow. Long before they had contact with the European world, they had complex trading networks sharing stone axe heads and highly crafted possum-skin cloaks and other examples of useful craftsmanship and art.

bunjil the creator

Archaeological evidence shows their connection to the land extending beyond 40,000 years. It is estimated that between 20,000 and 60,000 people, speaking over 30 languages lived throughout Victoria when Europeans arrived in 1835.

Rapid colonisation, the stealing of Aboriginal land, and the destruction of families by murder and disease forced Aborigines onto missions resulting in a loss of language, traditions and more lives – a cruel devastating and violent period of history.

Today the 25,000 plus Aboriginal people who live in Victoria are concerned about self-determination, maintaining their culture and restoring their lands.

crow

The tram is a moving lesson and illustration of Dja Dja Wurrung culture and painted on the roof sides there is a host of information proudly showing their customs and practices are alive and respected – keeping them connected to the past, the present and the future. Their cultural heritage recognised and protected as a celebration of identity and community.

Even the upholstery tells a story.

Recognition and Settlement Agreement

In 2013, the Dja Dja Wurrung people entered into an agreement with the Victorian Government recognising them as the traditional owner group for this country. The agreement recognises Dja Dja Wurrung people as the traditional owners of Central Victoria and binds the state of Victoria and the Dja Dja Wurrung people to a meaningful partnership founded on mutual respect. The list of recognised Apical Ancestors is also on the tram.

HEALING COUNTRY

The Dja Dja Wurrung have lived on traditional lands and cared for country over many thousands of years. Country is more than just landscape, it is more than what is visible to the eye – it is a living entity, which holds the stories of creation and histories that cannot be erased. The Dja Dja Wurrung have nine aspirations for their country, including…

Rivers & Waterways

Our rivers and waterways are healthy and meet the needs of our people and land.

Land

Our upside-down country is healthy again (healed from the effects of mining).

Djaara (People)

Every Dja Dja Wurrung person is happy, healthy and secure in their identity, livelihood and lifestyle.

Djandak (a traditional way of business)

We have a strong and diverse economic base to provide for our health and well-being and strengthen our living culture.

Self Determination

As our country’s first people, Djaara have an established place in society and are empowered to manage our own affairs

Joint Management

All crown land on Dja Dja Wurrung country is Aboriginal title and we are the sole managers. 

close up of decorated aboriginal tram

Along with illustrations and stories of the creators, there were details of the following native animals:

GNANA-NGANITY (bat) -There are 77 bat species in Australia. Bats are nocturnal and are the only mammals capable of sustained flight. They use echolocation to navigate during the night and to find food. They are natural pest controllers as 70% of them live on a diet of insects. A baby bat is called a pup.

MUMUMBARRA (bee) – There are over 1600 species of bees that are native to Australia. Native bees are smaller than European bees and many of them don’t sting. They can be black, yellow, red, metallic green and also black with blue polka dots, and can range from fat and furry to sleek and shiny.

BALAM BALAM (butterfly) – Australia is home to more than 400 species of butterfly. A butterfly does not eat but receives nutrients from drinking nectar and pollen from flowers and plants.

MUR-MURRA (dragonfly) – the dragonfly is an aquatic insect and spends most of its six-month life near the water. There are 320 known species of dragonfly native to Australia.

GALIYT (witchetty grub) – Witchetty Grubs are mainly found in central Australia. The grub is the larvae of the Cossid Moth. Witchetty Grubs can grow up to 12 centimetres long and are eaten as part of Aboriginal diet.

DUM (frog) – The frog is the only native amphibian to Australia and tends to live near wetlands as their skin needs moisture. Depending on the species some have a special slime coating and others can burrow into the ground to keep moist.

GUWAK (kookaburra) – the kookaburra is the largest member of the Kingfisher family of birds. They eat small mammals, lizards, snakes and insects. The laugh of the kookaburra is actually a call to mark their territory.

BARRANGAL (pelican) – The pelican is found throughout Australia. They can fly 3 kilometres above the earth. Their bills can hold up to 13 litres of water and they can eat up to 9 kilograms of food each day.

WIRRAP (cod) – fish were an important part of the Dja Dja Wurrung diet and were caught in different types of traps made from rocks or nets. The Loddon and Campaspe Rivers are where Dja Dja Wurrung ancestors lived and many types of fish were found in these waterways.

BARAMUL (emu) – Baramul is fast and can run up to 50 kilometres per hour. The female lays eggs and the male emu sits on the nest to hatch the young. Mu equality! The noise that the emu makes in its throat can be heard 2 kilometres away.

YULAWIL (echidna) – The echidna is one of two monotremes, which are egg-laying mammals. The other is the platypus. Both animals feed their babies on milk. A young echidna is called a muggle. Echidnas live for around 45 years in the wild.

DUAN (phascogale) – A phascogale is a relative of the quoll and Tasmanian devil. Their diet consists of insects, spiders and centipedes. They will also eat nectar from the ironbark flowers. The male phascogale dies at around one year of age, just after breeding season. The phascogale is a shy animal and has a very bushy tail.

street art view st 2

I retired to magnolia-on-view, the Airbnb I was sharing with friend Susan whom I met volunteering for Open House Ballarat and reflected on an amazing morning and all the new cultural and historical information absorbed.

The atmosphere in my little corner of Bendigo friendly, relaxed, and fun. I was surrounded by positivity and people giving back to their community. Ian and I both agreed, volunteering for something you love gives you energy.

I met up with Jack who lives in the redeveloped Willsmere and who had been our tour guide for the place. He remembered me. A nice compliment considering as a grey-haired senior I’m often considered to be in the realms of the invisible and irrelevant now…

I laughed with a couple of locals – a retired gentleman who lived in the same street as the Depot but who had never visited. It took Open House Bendigo to change his ‘will do one day’ into ‘will do today’ and he’d brought along a son and grandson who now live in Melbourne!

I met Sandra, a writer and editor who has just moved to Bendigo. She volunteers and writes biographies for people in palliative care.

The weekend was exceeding expectations and making me forget the ache in my ribs from an unfortunate car accident a few days before.

I checked the roster and prepared to open another door!

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When counting blessings, friends must be high on your list!

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Coco Chanel apparently said, ‘Nature gives you the face you have at 20. Life shapes the face you have at 30, but at 50 you get the face you deserve.’

If we sulked or made a funny or unpleasant face, my Mum used to warn, ‘the wind will change and you’ll stay like that.’ Both my parents championed smiling and politeness and modelled being friendly and pleasant.

‘You use more muscles to frown than smile’ is always a good comeback when someone looks glum, but there is no scientific proof behind the old saying!

“Scientists have studied the muscles needed for both facial expressions, and to do a small smile generally uses 10 muscles; a small frown uses 6. On average, a smile uses 12 and a frown 11. However, since humans tend to smile a lot, these muscles are stronger. A frown may be slightly more effort to produce just because we aren’t as used to using these muscles.”

Science Made Simple 

However, scientific proof or not, I’m sticking with smiles, politeness and kindness to people because I feel better when I do and following another piece of Mum advice, ‘civility costs nothing.’

My face – wrinkles et al – reflects life hasn’t been easy but there are plenty of laughter lines and when I meet up with friends there are usually smiles and laughter aplenty and I try and catch up with as many as possible during term breaks.

Spring In Melbourne Town 2018
(A hybrid Haibun)
Mairi Neil

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outside where U3A meet

Today, I won’t be grey and miserable
and definitely ‘not over the hill’
I’m meeting a friend of many years
several hours we’ll happily fill.

On way to the train
U3A club gathering
‘Nice day for an outing!’

Dressed for mercurial Melbourne
sturdy shoes and light jackets,
sunglasses, lanyards with names,
backpacks and lunch in packets.

‘Join us?’ their chorus
prepared for fun and adventure
my kind of ageing…

On the train beside a Metro worker
who’s heading for Glenhuntly Station
we chat about insecure work and gender
driving a train once her inclination.

I’m on the bus now
Meet you under the clocks
C u soon’

A confirmation text received
we’ve embraced the digital age
but I open a book of poetry –
I prefer words written on the page.

Train stops Platform 10
30 steps to reach the street
ever mindful of heart health

Food court wafts hot chips, coffee and cake
September’s Showtime and school hols
Flinders station’s abuzz with children
plus seagull, sparrow and pigeon trolls.

Myki tapped lightly
eyes seek a waiting friend
welcome smiles and hug

Age hasn’t happened all at once
however, we stroll not stride, to NGV
with hours to enjoy art and beauty
top priorities a pee and a cup of tea!

A young girl walks by
her straw hat embroidered –
the word – ‘paradise

Indeed! Melbourne – the world’s most liveable city.

Old friends are gold

Uma and I go back forty years BC (before children) and have encountered storms and defeats; sunny days and triumphs. Recently, retired from full-time work Uma is recovering from a serious back operation. I’m a few years older, almost retired from part-time work – four months to go – but who is counting!

For a just celebrated 61st birthday, Uma received membership to the NGV and as we walked from Flinders Street Station, she extolled the advantages and virtues of access to talks, special events, behind the scene views, plus a membership lounge – our first stop for a complimentary cuppa.

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The famous glass ceiling at NGV

I love the NGV too – it is celebrating 50 years this year and I can remember it being built. In fact, I can remember the obligatory school excursion where you got to lie on the floor and stare up at the magnificent and unusual leadlight glass ceiling.

There are always several special exhibitions at the NGV, plus their permanent collection. Uma’s input and knowledge from attending member lectures added to the richness of the day as we wandered through galleries discussing exhibits.

A recent talk about Nick Cave’s work: Sound Suit made her think differently about the pieces and how we perceive each other.

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Nick Cave makes sculptures that you can wear. These outfits cover the body and remove all traces of the wearer’s identity. When you are wearing a Soundsuit, no one can tell whether you are rich or poor, black or white, male or female…he created his Soundsuit series in an attempt to process his trauma associated with the 1992 Los Angeles riots.

…wearable sculptures act as symbols of endurance and a form of protection by obscuring all signs of the wearer’s race, gender, age, sexual identification and class…

made from everyday materials sourced largely from flea markets, including dyed human hair, plastic buttons, beads and feathers…joyous and spectacular…rattle and resonate when worn in performance.

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Both Uma and I were busy mums in 1992, with our firstborns leaving Prep and our second children preparing for playgroup and three-year-old kindergarten. International events reported via radio or television and often delayed by hours but the 1992 LA riots unforgettable because at the same time Australia was facing the reality of the Stolen Generation stories and alarming statistics of Aboriginal deaths in custody.

I expressed my anger and fears at Readings By The Bay, the monthly poetry and story readings held by Mordialloc Writers’ Group:

Our Burning Shame
Mairi Neil 1992

Rodney King – who gave you that name?
A “king’ in a black skin…
some will see the irony
or is it okay as a surname.
Is your destiny entwined
with that other dreamer?

The world watched in horror
as they beat you to the ground…
on the ground
into the ground.
The gang of four with official batons
grasped tightly, wielded as if warriors
beating your head
beating your body
beating your legs

Pounding, pounding, pounding…
a steady funeral dirge
burying the myth racial equality is accepted

Middle-class liberals gasped
horrified at the naked truth
other victims sighed with relief
the truth at last revealed.
Those with the power to change
shrugged away the fuss

A picture is worth a thousand words
a video worth a thousand affidavits
television news beamed across the nation
worth a thousand protests
an opportune political decision
worth a thousand votes

Time dimmed the anger and horror
even brutes deserve a trial…
innocent until proven guilty
but will Nuremberg be revisited?
We waited for the sentence
believing we knew the judgement

A jury without black faces
proved society is controlled
by red necks preferring white liars
who can live with red faces

Now Los Angeles burns –
along with our shame
those with real power
remain unchanged
Cosmetics mask ugly faces
waspish capitalists sting
again and again and again…

Shocked Australians are horrified
yet reality reveals our guilt
smugness shattered
when black deaths in custody
inspire jokes

Our custodians of the law
don’t need lessons in brutality
we watched the scenes in LA
but closed minds
can be switched off
just like television sets

Will our cities burn
today…
tomorrow…
next week…

Now, of course, the time delay is only seconds. The 24Hour media cycle (circus?) barely gives us time to digest, never mind process, events. There are social media platforms and mobile devices offering no escape or relief, and ironically, the reality of ‘fake’ news.

After almost three decades I have to pause, reflect, and ask how much have attitudes and behaviour changed?

Will the wider dissemination of news and events via the Internet make people seek further knowledge, see a different perspective, consider a change in behaviour or attitude – or will it just cement their own truth and beliefs?

Across the room beside Sound Suits is Amelia Falling by Hank Willis Thomas, a most effective photographic image on a mirror and depicting Alabama 1965 – I remember that too almost three decades before the LA Riots! :

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Amelia Falling is derived from an archival photograph taken by photojournalist Spider Martin during the Selma to Montgomery marches in Alabama in 1965…

… civil rights activist Amelia Boynton Robinson being carried by fellow marchers after having been gassed and beaten by State Troopers during what was intended to be a peaceful protest…

Willis Thomas states, ‘In a lot of my work I ask the viewer not to be passive but to actually think about active participation’.

 

What artwork will the Trump era produce – chronicle our despair, facilitate change or confront our shame?

Trumpeting Limericks To Let Off Steam

Mairi Neil, 2016

There once was a candidate Trump
elected by those who took hump
at moneyed elites
according to tweets
by Trump’s collective misogynist clump

He blew bigots up like a bicycle pump
‘deplorables’ swelled to a poisonous lump
forget about facts
diplomacy or tact
winning is all that matters to Trump

As the President-elect Donald Trump
sneered at women considered plump
his unleashed tongue
grotesque insults flung
Trump’s misogyny a cancerous lump

His presidency corrupt at the core
means the United States no more
anger and hate
an uncertain fate
Trump’s only about settling a score

He campaigned with deceit and lies
winning the penultimate prize
of course, he’s a fool
others actually rule
will the majority avert their eyes?

From Mexican artist Joaquin Segura we have Exercises on selective mutism, 2012:

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In this piece the artist has recovered a found object – a canvas banner discarded in the aftermath of a protest in Mexico City – and transformed it into a minimalist sculpture by applying layers of white paint to its surface. 

The attempt to cover up (literally ‘whitewash’) the banner’s political message is key to the work’s meaning… about efforts to silence, and render invisible, dissent – through omission, spreading misinformation and erasure – and a questioning of conceptual art’s potential to make political claims or to challenge authority.

I love writing Found Poetry and the last lesson for the term in my Writing Creatively class was exploring Found Poetry by reading a column in the local paper which collates local news snippets from a hundred years ago.

The exercise was challenging but productive and I hope the students polish the variety of poems they wrote.

Art can Confront, Challenge, move us from our Comfort Zone

Several other installations prompted discussions on a host of current media topics and various events we’d lived through.

Baby boomers have survived tumultuous, exciting times and have adapted to incredible change, especially the rise of the digital world. I’m glad there is still support for art you can touch, walk around, relate to and experience in real time, not just on screen.

Melbourne is rich with events to attend, particularly during holiday times and I never tire of the trip to the city – as a teacher of creative writing, particularly Life Stories & Legacies, cultural experiences and exhibitions offer a mine of information and material for lessons and ideas to write about, plus triggers for personal memories.

When we write about our past, it’s easy to look at memories as if through a fixed lens. Events and people, including self, coldly observed – especially childhood – embarrassments, failings, mistakes, sometimes enlarged or erased with hindsight, successes perhaps forgotten or if unrecognised at the time, now embellished. The telescope pointed at childhood fixed, and often others not consulted, so the memory, reliable or otherwise, is our own.

The immediate past and middle years, early adulthood onwards not so clear to categorise or to talk about – marriage, parenthood, working life – may still have ongoing repercussions – more likely family, friends and fellow travellers, still alive even if not active participants in your life.

The memories may be raw and traumatic and still needing some distance before reflection.

Our childhood distant, but not the experiences of our own children and their effect on our lives still being worked through, as are decisions that may have affected our health:

  • abandoning regular sport or dancing,
  • quitting smoking,
  • alcohol use,
  • prescription medication,
  • middle-aged spread,
  • promotion at work,
  • redundancies,
  • reducing to part-time
  • or casual work,
  • divorce,
  • widowhood,
  • estrangement,
  • de facto relationships,
  • weddings,
  • grandchildren,
  • retirement,
  • relocation…

… so many experiences and turning points to be written freely or honestly, or perhaps censored with ramifications fully understood.

Shared experiences, Interviewing friends, a Memoir Writer’s fodder

At the NGV, along with discussing the contents of the galleries, Uma and I chatted and remembered events of our forty years friendship. We both are the product of the first wave of feminism and both have daughters who we raised accordingly, hoping they would not go through some of the sexism and inequality we faced.

Uma, as a woman of colour, born in Malaysia, a country with a long history and acculturation from British colonialism, recognises she adapted to Australian society with relative ease compared to other migrants but we agree the conversations around #blacklivesmatter and #metoo are relevant to Australia and long overdue.

Proud to be Feminist

“You’ll love the Guerrilla Girls: Portfolio Compleat,” said Uma as she guided me to the next gallery.

Guerrilla Girls exhibition confronts gender inequality particularly in the creative fields, and because myself and both daughters (a filmmaker and a stop-motion animator) work in creative fields, Uma wanted me to see it.

We found ourselves sharing insights about subtle and not so subtle discrimination in a world that unfortunately still sees power wielded by the privileged, and in western society, the privileged are overwhelmingly white and male.

Uma confided that at work in the public service, even when she was in charge, as the manager or ‘boss’, she sat in the front row at conferences or prominent positions at meetings to be seen and she consciously spoke a little louder to be heard – a woman of colour, she had two hurdles to jump!

Guerrilla Girls is a group of anonymous feminist artists and activists who call themselves ‘the conscience of the art world’. Their posters, billboards, books, videos and live lectures use facts, humour and bold visuals to expose sexism and racism in politics, the art world and popular culture.

The collective formed in New York City in 1985 with the mission to bring gender and racial equality into focus within the greater arts community. The members protect their individual identities by wearing gorilla masks during public appearances and by adopting names of deceased female icons such as Edmonia Lewis, Kathe Kollwitz and Frida Kahlo.

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guerrilla girls and homeless

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Uma pointed to number four on the list of advantages of being a woman artist.

‘You have another 20 years,’ she said with a grin…

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Many of the observations were witty and shocking but in today’s depressing political climate ‘stating the bloody obvious.

On the way to visit another special exhibition, we paused at random objects that caught our eye.

From ‘in your face’ feminism, to the eighteenth century, known for its enlightened philosophes (you’ll be forgiven for only knowing the names of the male intellectuals – Voltaire, Rousseau, Kant, Diderot, Hume…) because women were literally and figuratively trapped – in clothes that limited mobility, a society that denied rights and access to education:

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The fashionable ideal for women in the eighteenth century comprised voluminous dresses, open at the front to reveal matching stomachers and petticoats, tall powdered clouds of hair and pointed buckled shoes. Skirts were widened with hoops or panniers to create an exaggerated hourglass silhouette that emphasised the natural waistline.

This work is known as a robe a la francaise (or sack-back gown), distinguishable by its sack-back of loose pleating and front robings trimmed with lace that conveys the luxury and ostentation of the period.

During the first half of the eighteenth century, fashionable women’s shoes for the upper and middle classes followed a common form. Straight and narrow with a pointed toe and thick-waisted heel, most were made of rich silk fabric and often had decorative trimmings known as passamaneria. This pair features exquisite metal thread bobbin lace made by braiding and twisting lengths of thread, further edged by strips of braid work. The shoes do not buckle but are worn with the latchets overlapping at the front.

How did they function?

I loved Georgette Heyer’s Regency and Georgian novels as a teenager and imagined floating around in muslin and silk dresses – a visit to a museum would have given me a reality check!

The research required for good historical fiction is painstaking and often clothes play a huge part in whether the story is believable, even more so for screenwriting.

I visited so many museums and galleries when I travelled and often looked at the displays and pondered the hours of labour to make the material, dress and shoes.

My aunt was a tailoress and my older sister an amazing seamstress too, she quilts, embroiders and does all manner of creative needlework. I know the effort and time hand sewing takes – mind-boggling!

However, the men and women hunched in candlelight, in rooms with little or no ventilation, sewing these glamorous gowns earned a pittance and history did not even record their names…

A Stitch in Time (a villanelle)
Mairi Neil

She sits sewing by dim lamplight
embroidered threads by her side
contented, happy, eyes shining bright.

In the stillness of evening light
needle and thread silently glide,
as she sits sewing by pale moonlight.

Cross-stitches, pattern small and tight
new techniques taken in her stride
contented, happy, eyes shining bright.

Her creativity in wondrous flight
imagination flows like the tide
as she sits sewing by candlelight.

Machines embraced despite Luddites
mass production becomes her guide
contentment gone, eyes no longer bright

History records seamstresses’ plight
workers stripped of all but pride
many still struggle in shadowed light
exploited, sad, eyes no longer bright.

A Day For All Things Domestic?

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Curry 2006 by Subodh Gupta

Uma was thrilled to come across an installation by an Indian born artist Subodh Gupta called Curry.

A wall displaying the various utensils used for cooking reminded Uma of growing up in Malaysia and observing her grandmother cooking. There were certain types of pots and pans, spoons and ladles found in every Indian household.

The tiffin boxes brought back memories for me too.

I first heard about tiffins and saw one when John and I became close friends with a workmate, Peter Cordeux who had been born and brought up in India as part of the British Army community.

Whenever we had parties, Peter and his wife Kathy brought a tiffin box filled with delicious curries and rice, which Peter always jokingly claimed he made.

Peter died in 2008, but his stories of growing up in India, holidaying in Pakistan and Afghanistan, being stationed in the Middle East, fighting in Malaya in 1948 during the “Insurgency,” and then the various jobs he had before migrating to Australia, including operating an ice cream van, introduced a whole new fascinating world.

His funny and serious tales reflected in those tiffin boxes! My girls loved their Uncle Peter and still miss him.

Cultural references resonate within the make-up of this artwork: the use of stainless steel in bowls, plates and cups is synonymous with the modernisation and economic development of India in the twentieth century.

Stainless steel replaced kansa (or bell metal, a brittle bronze featuring a high proportion of tin) in the 1950s and 1960s and came to transform the kitchen and eating utensils used in everyday life in India.

The nod to the multitudes of India is made in this work, where straightforward, comparatively small, individual elements are brought together at such a scale that they transcend their everyday nature.

A Writing Exercise

A common writing exercise for those writing family history or memoir is to look in cupboards and write about objects kept for sentimental reasons or as heirlooms. What is the story behind them? Why is it important to write their legacy?

Or write about and explain the value and attachment of everyday objects.

How were they acquired and is there a significant memory attached, like a birthday or anniversary, a travel story?

A trip to the NGV or the museum may help to trigger memories – this stainless steel display certainly did for me and Uma – as did the final special exhibition we walked through.

a stroll through coffee pots

A Modern Life: Tablewares 1930s – 1980s

If you want to date or explain the provenance of that treasured plate or teapot, visit the NGV before 27 January 2019. You’ll have an enjoyable history lesson too and perhaps discover that valuable piece of crockery a la Antique Roadshow!

The layout of some of the displays to mirror popular designs, I found a bit overwhelming and busy, but certainly stunning and there is a great range of designers. So much detail to produce the humble cup and saucer.

Nowadays, in trendy places, you can be offered a jam jar to drink from and your meal served on a wooden board – or even given disposable crockery and cutlery!

Not so in previous decades.

Following the Second World war, societal changes resulted in the decline of domestic servants and many women going out to work. These changes, along with the growing enthusiasm for a modern lifestyle, prompted manufacturers to produce dining wares that were versatile, easily cared for and able to go from the oven to the table.

Postwar optimism also encouraged the development of new tableware forms that were decorated in bold colours and modernist patterns.

This exhibition explores the growing engagement with modern design by commercial manufacturers charting the application of technical innovations in production and decorative techniques in pursuit of commercially competitive products.

Whilst focusing on ceramics, the exhibition also explores the use of new materials resulting from wartime technological advances including plastic, aluminium and stainless steel.

 

As we walked around the cabinets so many memories were triggered.  Personal family stories, especially memories of our mothers and the impact of their preferences, tastes and habits on our own behaviour shopping, cooking, serving meals.

Memories of setting up house in the 80s – scrounging furniture, crockery and utensils to build a home.

Uma was surprised to hear I’d worked in Johnson’s Pottery in the 70s – in fact all members of my family, apart from my young sister, worked in the Croydon factory, producing Australia’s best-known tableware.

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Mum on the pinning bench, Johnsons Pottery circa 1968

Dad was a kiln man for ten years, my mother worked on the pinning bench preparing the holders for the pottery to be fired, my brothers were kiln boys helping load and unload the kiln cars and clearing up debris, sorting and stacking; my sister worked in the decorating section and I inspected the finished products and also worked in the office during the traditional three-week Christmas shut-down period.

When the factory closed for maintenance, the only person running the office was Mr Stephen Johnson, the boss and owner before Wedgewood bought the company. Teenage me on university holidays was hired to answer the telephone and type letters.

At the time Johnsons negotiated special deals with shops like GJ Coles, David Jones and Myer – they chose a specific design that became their exclusive tableware. I took a call from the famous GJ Coles who was a personal friend of Mr Stephen’s and made afternoon tea for the many suited gentlemen who visited to seal agreements for the coming year. 

I can remember the fuss when Johnsons moved away from traditional whiteware and made their first stoneware as they tried to compete with imports from Japan.

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Japanese stoneware

Technology and mass production has made a lot of household items disposable but access to good quality tableware used to be prized – the first complete set of tableware for many being the traditional wedding present of a dinner set.

Most of my family, myself included, had a dinner set gifted as a wedding present. I have a couple of plates, the remnants of the wedding present to my grandparents and parents. Bone China still cherished and on show in cabinets in the homes of many of my generation.

John’s sister in England has a magnificent collection of blue and white pottery (Delftware) and Royal Albert and Royal Doulton Bone China, but the coffee sets and tableware in this exhibition very much examples of the everyday pieces that may not survive intact if their purpose and design enjoyed rather than displayed!

The bold colours of the 70s and 80s obvious and I’m sure similar pieces can be found in Opportunity shops as my generation declutter.

I don’t think young people today place the same value on many of the possessions older generations had to use a greater percentage of their disposable income to acquire.

I can recall seeing the famous blue Willow pattern for the first time when I came to Australia in 1962. We stayed with a cousin of Dad’s and that was the pattern of her everyday dishes. I fell in love with the oriental scenes, my imagination working overtime as usual because I’ve always had a fascination with China.

In the early days of living in Mordialloc, one of the retail chains had a sale of Blue Willow pattern crockery and I bought a set.

When the girls were young, they too ate their cereal from Willow-patterned bowls. I’ll have to ask them if the scenes had any impact on them – I’m pretty sure their answer will be no.

But perhaps in the future, looking back on their childhood or wandering through an art gallery or museum with a friend…

For Auld Lang Syne

I’m lucky to have several dear friends to enjoy the present and some have shared the immediate and not so distant past – the part of life we often struggle to write about in terms of memory and reflection.

Talking about shared experiences or interviewing friends about a particular event can help with perspective when the desire or in some cases, an urgency to record a life for family members or the general community arises.

There are three classes into which all the women past seventy that ever I knew were to be divided: 1. That dear old soul; 2. That old woman; 3. That old witch. 

Samuel Taylor Coleridge

A couple of centuries have passed since Coleridge made that statement about ‘old women’. I’m heading towards seventy and some friends are there already and we’d all agree he got it wrong. 

We may still be fighting for gender equality, and ageism is a reality, but thankfully Coleridge and the other Romantic Poets with patriarchal and sexist views are only around in print and any modern poet expressing similar views will have to contend with shaming by Guerrilla Girls!

I loved my day out with Uma and look forward to catching up with other friends ‘of a certain age’ and intend to enjoy lots of the available activities in October as we celebrate how great it is to be a senior in Melbourne.

We Need Another Gandhi – Another Great Soul to Remind Us to Honour all Humanity!

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One of my favourite places to visit in Melbourne is the Immigration Museum and last month I caught the final day of a magnificent exhibition on the life of Mahatma Gandhi – one of the greatest men ever to live and whose teachings and life informed, enriched and inspired me.

A great activist who changed the shape of our world by advocating for tremendous social change and justice years before Lenin formed his Bolshevik faction and before Mao Zedong embraced revolutionary ideals.

The 20th century had just begun when Gandhi developed his theories and put into practice a campaign of non-violent resistance to injustice.

 

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Today is World Humanitarian Day (WHD). It is held every year on 19 August to bring attention to the millions of people around the world who are affected by crisis and conflict and pay tribute to aid workers who risk their lives in humanitarian service and to rally support for people affected by crises around the world.

A fitting day to honour the life of Gandhi and to thank my parents for their influence and guidance in believing social change can and must happen if we want a more just and equitable world.

 

In my Life Stories & Legacies Class, I often ask the students to write about their beliefs and values and reflect on who and what influenced and perhaps still influences them.

To reflect on how much their parents, teachers, the books they read, personal experiences and current events shape their core beliefs and actions.

We’ve had a tumultuous week in the Australian Parliament revealing the best and worst of our representatives.

A week where Gandhi’s ability to dissolve prejudice in others and inspire courage to act and practise what we preach was sorely needed.

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World Humanitarian Day 2018

“Around the world, conflict is forcing record numbers of people from their homes, with over 65 million people now displaced. Children are recruited by armed groups and used to fight. Women are abused and humiliated. As humanitarian workers deliver aid and medical workers provide for those in need, they are all too often targeted or treated as threats.”

UN Secretary-General, António Guter

Only 1% of the 25 million people who have fled as refugees are ever resettled.

Gandhi believed we are all citizens of the world, unbound by exclusive loyalties of race or creed or class. He became renowned for shedding attachment to material things and at the end of his life, his only worldly possessions were his sandals, watch, glasses, a couple of spoons and bowls and a book of songs!

If only more people believed in such a universal society rather than nationalistic divisions, many more refugees and displaced people would be resettled.

The exhibition at the Immigration Museum approached telling Gandhi’s story by first introducing Gandhi as an immigrant. Indeed the forming of his philosophy to campaign for change in a non-violent way began when he lived and worked in South Africa and suffered discrimination because of his skin colour and ethnicity.

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The exhibition combined digital and non-digital storytelling and made good use of extracts from the 1982 Richard Attenborough film, Gandhi and archival footage from documentaries and newsreels. At least Ben Kingsley,  the actor chosen to play Gandhi,  is of Indian heritage, his father being Gujarati and Ben’s birth name, Krishna Bhanji.

The books I bought and read about Gandhi acquired in the 1970s and it was great to refresh my memory and immerse myself in exceptionally well-laid out exhibits.

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Gandhi’s Early Life

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Incident At Pietermaritzburg, South Africa

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Many people can point to a pivotal moment or event that either changed their attitude or thinking or forced them to change the direction they were heading in life.

Gandhi’s moment was outrage at the unjust humiliation of being ejected from the train despite having a ticket, and being ejected and roughly treated because he was ‘coloured’.

He had a long, cold night to sit in the waiting room and reflect on his undignified treatment and the general status of non-whites in South Africa. His legal training and political beliefs must have worked overtime as he imagined and planned an effective response – and considered the bigger picture, especially in relation to India under British rule.

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The year my father was born (1922), Gandhi was actively promoting his doctrine of passive resistance and making headlines in newspapers. My Scottish grandfather (Papa) was well-read for a working-class man and actively involved in the trade union movement. No doubt he followed the stories of Gandhi when he visited England in 1931 and promoted peaceful negotiation of conflict.

Fighting and Marching For Equal Rights in South Africa

In 1913 the Cape Supreme Court ruled that only marriages performed under the Christian rites could be recognised. With the stroke of a pen, all Hindu, Muslim, Zoroastrian, and other religious marriages were nullified.

This judgement added to long-standing grievances of the Indian community including the three-pound tax on ex-indentured labourers and the law prohibiting Indians from crossing state borders.

Several Indian women, including Gandhi’s wife Kasturba, declared their intention to seek arrest until the judgement was overturned.

Gandhi advised two separate parties of women, the Phoenix Party and Transvaal Sisters, to cross the Natal border and break the law. They were then to urge the people of Natal to join Satyagraha and not reveal their names and addresses upon arrest.

The Phoenix Party was arrested at the border and sent to a hard labour prison for three months in Pietermaritzburg Jail. The Transvaal sisters, however, positioned themselves in Newcastle, Natal without arrest. Their influence spread quickly among the indentured labourers, helping incite massive strikes.

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In 1915, Gandhi returned to India and continued to transform himself and the movement towards independence.

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Gandhi’s India

The exhibition had several display cabinets with a selection of traditional Indian clay figures, dating from the 1860s and 1880s, to provide a beautiful if at times idealised, representation of the human diversity of Gandhi’s India.

They included fine examples from the famous 19th century Indian workshops of Krishnanagar, Lucknow and Pune. These artefacts have rarely been seen in Australia since many were displayed in the Indian Court at the 1880 Melbourne International exhibition at the Royal Exhibition Building.

I have several friends and have had students who migrated here from India and my daughters have school chums who were born here from immigrant parents but like most people, I probably underestimate the sheer size and diversity of India geographically as well as population-wise.

The clay figures displayed from the Krishnangar, Lucknow and Pune regions, 1860s-1880s. (Museum Victoria Collection) Also figures from Mumbai.

Various people and occupations represented:

  • everyday men, poor villager, ‘Palanquin’ carrying army officer, washerman (dhobi), female labourer, office messenger (peon), woman of high rank, drummer, Parsi (Zoroastrian) house servant, Hindu writer, priestess begging for Hindu goddess Kali, musician, cloth dealer’s servant, woman spinning yarn, Muslim man, priest for Hindu goddess Kali, horse keeper (ghorawalla), Hindu clerk, dancer (nautch girl), goldsmith (sonawalla), man carrying bundles, merchant (banian), woman from mercantile class, Parsi (Zoroastrian) gentleman, Hindu tailor, Brahmin woman, policeman, domestic ‘half-caste’ worker (ayah), Muslim gentleman, agricultural female worker (ryot), priest, Muslin cloth seller, potter at wheel, fruit seller, water carrier, horse groom, Bengali man, teacher (pundit), woman wearing lace shawl, seated priest sewing, poor villager.

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Clay figure modelling in India

Clay figure modelling has been widely practised in India for hundreds of years. Models of humans, animals and scenes from everyday life have been used for worship, as toys, ornamentation and for ethnographic purposes. A gradual shift towards naturalism in clay figure modelling in certain regions increased during the 18th century with the arrival of Western traders, European settlers and planters who took souvenirs home from India.

While the manufacture of traditional clay toys and religious idols continued, the manufacture of naturalistic clay models was centred in the regions of Krishnanagar, Lucknow and Pune. The establishment of government art schools in Calcutta, Madras and Bombay (now Mumbai) during the late 19th century further increased European influence on the various styles of clay modelling.

The advent of international exhibitions, the first held in London in 1851, saw an increasing interest in the peoples, customs and traditions of the non-Western world. The established tradition of clay figure modelling in India was an obvious way to represent an often idealised Indian people, life and culture.

What counts in life is not the mere fact that we have lived. It is what difference we have made to the lives of others that will determine the significance of the life we lead.”

Nelson Mandela

Salt March was Right Against Might…

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Satyagraha

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On 6 April 1930, Gandhi and his followers produced salt on the shores of Dandi, breaking the Salt Law. Time magazine declared Gandhi the “Man of the Year’ in 1930 and more than 1300 newspapers around the world reported the Salt March.

In June 2011, Time magazine declared the Salt March as the second most influential protest in the world.

My parents were married the year Gandhi was assassinated (1948) and after living through the tragedy and horror of WW2, my father threw himself into the Campaign for Nuclear Disarmament (CND) and like many others, he was certainly inspired by Gandhi.

When I was a child I can remember the conversations of adults who visited our home and the discussions between my parents about the merits of various methods to effect change.

One name was often mentioned – Mahatma Gandhi, an activist who changed the shape of the world by encouraging people to fight for change by non-violent civil disobedience.

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The Untouchables

In the 1930s, Gandhi’s main concern was for the untouchables, whom he called the Harijans or Children of God. He strongly campaigned against systems of privilege and deliberately did the cleaning duties, particularly the cleaning of toilets, considered the duties of the untouchables.

The removal of the worst features of the caste system occupied him during this decade.

He transformed his own ashram at Sabarmati into a centre for training untouchables and edited a paper called Harijan,  contributing most of his later writings.

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The Brotherhood of All Religions

Gandhi was a deeply spiritual person who believed religion was a private matter and that each person made their own approach to God.  Any attempt to create a religious state unacceptable as was any other way of differentiation between people.

His life-threatening fasts to achieve a goal legendary, and none more so than towards the end of his life when inter-communal massacres at the time of India’s liberation derailed a smooth transition to independence.

His attempt to solve the religious divisions, notably the divide between Hindu and Muslim led to a pilgrimage through the most troubled regions. Sadly, he died at the hands of a religious fanatic and his dream of a society without social or religious discrimination died too.

Gandhi Championed a Simple Life

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Gandhi worked hard on a practical level to rehabilitate and promote the Indian village, reviving agriculture, industry, education and other features of the rural culture of India. He believed his vision of communal reconciliation and a thorough reformation of Indian society at this basic level would benefit everyone. he had a desire to turn the tribes of India into self-supporting farmers.

The combination of good farming and craftsmanship would ensure a sufficient but not luxurious life.

A spinning wheel similar to the one he used and an example of spun cotton was on display. Gandhi never asked anyone to do anything he did not and he spent 15 minutes spinning every day – his meditation time – a therapeutic exercise he recommended.

Gandhi’s ideas came with strong moralistic and anarchistic leanings.

The State represents violence in a concentrated and organized form… self-government means continuous effort to be free of government control, whether it is foreign, or whether it is national… The ideally non-violent state will be an ordered anarchy.’

Women he regarded as the most exploited class of India, next to untouchables. He believed men and women were complementary – equal in status, but different in function. He campaigned for the abolition of purdah, child marriage and all customs that discriminated against women.

He believed that once women were liberated from male exploitation they would develop a high degree of sexual restraint and solve India’s population problem without other birth control methods, which he saw as an encouragement to indulgences.

Gandhi’s ideas and action challenged and changed our way of thinking.

A complex, courageous man who continually transformed himself to remain engaged with the times and true to his ideals.

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Most of the protest movements that followed his death and liberation struggles in other countries whether it was the civil rights movement in the USA, anti-nuclear and anti-Vietnam marches, the campaign against racial discrimination and Apartheid or a free Tibet – all owe a great deal to Gandhi’s legacy.

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Keeping Up with Technology at the Local Library

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It has been many years since libraries have only been about books – and some would argue that’s never been the sole aim of public libraries. Rather they are important community assets, providing critical services and transforming lives.

My local library is at Parkdale – a 3-minute train ride or 15 minutes walk away from where I live in Mordialloc and part of a network of libraries in the City of Kingston.

We are lucky because years ago with the onslaught of computer technology and digital books and proponents of neoliberalism’s desire to privatise and ‘monetise’ there were plenty of people murmuring about whether libraries were worth funding.

Like many public facilities and services, they came under pressure to justify their existence.

Books are outdated,’ a common enough catch cry…

In  The New Penguin Compact English dictionary (updated 2000) the definition of Library is:

1. a room, building or other place in which books, periodicals, CDs, videos etc are kept for reference or borrowing by the public

2. A collection resembling or suggesting a library

3. A series of related books issued by a publisher

Kingston libraries offer:

  • books in large and regular print, audio books, eAudiobooks &eBooks
  • magazines, music CD, DVDs, BluRays & Wi games
  • Wi-Fi and computers with internet access
  • computer & internet classes
  • programs for children – storytime tiny tots, book bugs & school holiday programs
  • Readz teen book club
  • eLibrary resources
  • author talks and workshops
  • items in community languages
  • comprehensive genealogy collection & computers for research
  • local history resources

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Moving with the times…

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3D Printing is an emerging technology and libraries and schools are investing in printers. When I saw these free workshops advertised I booked myself in.

I’d seen a 3D printer in action in 2014 when I spent a long weekend in Ballarat at Easter time and there was a festival happening. The Ballarat Mechanics Institute had a demonstration of a 3D printer but the room was crowded and the queue to get near the machine long, so I didn’t really learn anything except that someone had printed a row of green plastic figurines to amuse any children who’d turn up – and they were the majority of the audience.

3d printing in news.jpegIn October 2014,  3D printers were again in the news when Professor Peter Choong,  led a medical team at St Vincent’s Hospital Melbourne and implanted a 3D-printed titanium replica of  71-year-old Len Chandler’s right heel after he was diagnosed with cartilage cancer.

My brother-in-law was in St Vincent’s at the time recovering from having several toes amputated because of his diabetes so the world first operation at the hospital was the main topic of conversation!

The opportunity to learn how to use the technology too good to miss.

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3D printers are commonly associated with plastic – the same substance used to make Lego is the most common plastic used.

It is a filament – a thread fed through a tube into an extruder. The plastic gets hot – 240’ centigrade, the melting temperature required to take the plastic off when dried.

PLA also common with the melting temperature cooler at 190’ centigrade. It gives a more polished finish but a lot harder to take off the machine because more brittle.

ABS and other plastic easier to take off when dried.

More Than Just Plastic

  • 3D printers also use metal and at an industrial level, they use layers.
  • 3D printers also use paper in layers.
  • 3D printers also use food – This developed with the idea of addressing malnutrition and/or feeding the military, making edible objects; a mini-ecosystem
  • 3D printers used in medicine – making copies of hearts to see if there are holes and also making prosthetics.

A Parkdale Library customer printed a prosthetic hand for his grandfather.

3D Printing in the news…

Innovations in 3D printing technology could make it possible to ‘manufacture’ living organs, skin, tissue and bone rather than relying on transplants and artificial materials. Scientists are already creating bio-compatible prosthetics as well as lightweight exoskeletons, 3D models that aid in education and research, and even cool customizable limbs.

The printers enable cheap production and easy design method. Many of the designs available are free under a Creative Common License. 

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The Process

Select how your design will be printed remembering to factor in how much strength may be required to support whatever you are printing to get the shape and proportion you want. A lot depends on the thickness and weight of your object.

The time it takes to print will depend on the size and thickness – a thin bookmark may take a half hour to print, thicker objects 48 hours. Fluffy the three-headed pet of Hagrid in Harry Potter took two days. It was a 6-inch solid object and took less than a reel of the plastic thread, which costs $25 a reel.

The printer the library owns only prints objects in a single colour and the reels of thread we could choose from were primary colours.  (I chose green for my object.)

  • After a look through the designs available, you load a design from the software already on the computer.
  • Follow digital track (data loaded) and save on an SD card like a camera.
  • Think of a design and imagine it in 3D – as a solid cube 
  • The software doesn’t tell you when support is needed – you have to factor that in when you design. eg, if printing a drawer you have to remember there needs to be a space

Objects are printed on a raft – this supports the object and helps with removal from the heat platform.

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Designs using software .spl and .obj are compatible with the library computer. The printer is Duratrax bought for $3000 two years ago.

Customers have found it useful – a man needed a plastic component to fix a window blind but the component was unavailable in Australia and out of date with the product no longer made. He asked the European company to send a file compatible with Parkdale’s 3D printer and he printed off the part!

Kids have completed projects too using the printer.

We were all encouraged to design and print an object – the first 3 hours of printing free, $5.00 for every hour of printing after that, with a maximum of $25.00 (the cost of a reel of the thread).

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There will be a failure to print if the power supply is interrupted while the object is being printed.

Once cleaners pulled out the plug so the print had to be started again!

MJ removing bookmark backing

I chose a ‘Celtic’ bookmark, the design quite intricate. It was calculated to take 1hr and 26 minutes to print.

I picked it up yesterday and my daughter, Mary Jane removed the backing raft.

An old dog has learnt a new trick!

The Esplanade Vaults – An Historical Treasure Rarely Opened

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On Sunday, I took part in Open House Melbourne again – another year of memorable experiences. The weekend the showcase event of an organisation committed to ensuring cities remain sustainable and livable, that people care about architecture, design, historical significance, and community values and stay engaged with their environment.

Each time I learn a little more about the history of this wonderful city as well as making the acquaintance of many delightful people. In the past, volunteers identified by a brightly coloured scarf and badge but this year we went for a ‘faux tradie'(?) look – a one size fits all fluoro pink vest!

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The day always wonderful but the weather not always so…

July-August still winter and this year mercurial Melbourne let us know it.

Sunday, a particularly bone-chilling cold day with a consistent arctic wind from Hobson’s Bay visiting as intermittent squalls in the afternoon to remind us what season it is!

I was a building volunteer at The Esplanade Vaults in beachside St Kilda and although I’ve walked past this historical treasure many times (especially on Sunday when I got hopelessly lost and disoriented because I got off the tram one stop too early!) I never knew the vaults existed, or their significance before I was rostered on duty.

Apologies for my ignorance to all those who lived in, or frequented the popular tourist destination of St Kilda, and perhaps loved the shops ‘among the arches.’

They existed for a good part of a century before they were bricked up in the 70s because road widening narrowed the footpath and made access a hazard.

Almost 900 people visited ‘the vaults’ over Open House weekend, with almost half of them on Sunday – many blown in and appreciative of the dryness inside, if not the lack of heating and other creature comforts.

What remains is but a hollow shadow of the popular shops many remember but interesting to see inside because of their history.

The vaults date back to 1891 when public transport on the Upper Esplanade, St Kilda was upgraded to a new cable tramway replacing the Melbourne Tramway & Omnibus Company’s horse-drawn omnibus.

The roadway widened to accommodate tram tracks and included in the design was the ‘provision for ten shops with arched ceilings, the walls raised to hold the road above.’

The shops had verandahs and faced the St Kilda Baths on the Lower Esplanade. The St Kilda City Baths still there and I can recommend their friendly staff and coffee and cake. The older photo below of the Baths circa 1933.

 

The shops among the arches sold a range of merchandise suited to the location including ice cream, nuts, confectionery, haberdashery, and fish and chips. The walls are hollow and thick and it’s amazing how the noise is deadened. Nowadays trams and other traffic are constant above the shops and the road outside but are muffled to be almost unheard in the vaults.

The doors have wooden lintels and you can see the thickness of the walls. It is obvious what parts of the vaults are the original 1890s bricks and the more modern bricks used to seal them.

One of the visitors to the site on Sunday who looked about my age, perhaps older, told me a story about his childhood:

‘You know one of those shops just around the corner used to be a fish and chip shop. I’d ride my bike down here and buy some fish and chips, then leaving my bike leaning against the shop wall I’d cross the road and spend several hours on the beach. Didn’t matter when I came back my bike was still there.’

His nostalgic story ended on a wistful note, ‘No need for locks in those days…’

The City of Port Phillip Values Its Heritage

Only some of the original shops can be accessed and 2016 was the last time the Council opened them to the public. Sandra, a representative from Port Phillip Council’s Heritage Centre had set up a table to promote their local history and heritage program. It was an added bonus to have people knowledgeable about the city on hand.

heritage colunteers

My daughter lives in East St Kilda and I’m looking forward to warmer weather to follow detailed guides to five interesting walks:

  • Immigrants Trail (4 kilometres – 70-90 minutes)
  • Foreshore Trail ( 11 kilometres – 3 hours)
  • To Market To Market (1 kilometre – 30 minutes)
  • Around The Hill ((1 kilometre – 30 minutes)
  • Solar System Trail (5.9 kilometres – 90 minutes)

This last walk intriguing and the result of a 2008 project with the Astronomical Society of Victoria, Lonely Planet Foundation, City of Port Phillip, Monash University, artist Cameron Robbins and Scienceworks!

walking guides

St Kilda’s Built Heritage

The shop verandahs were removed in the 1950s but it wasn’t until the 1970s they were bricked up because of the widening of Jacka Boulevard.

Inside the vaults, on Sunday, there was a slideshow of historical pictures on a loop. Various views of  St Kilda lit up one wall and old photos were fixed on the walls in another room.  Sandra lamented there were no pictures of the shop interiors, or indeed close-ups of the shop fronts when they were thriving.

I’m sure there are snapshots in some family albums and perhaps one day they’ll be donated to a library or museum. Until then, people visiting just have to use their imagination – and everyone agreed the shop owners must have been expert at using space because the vaults are small. No wonder they needed the verandahs and a wide footpath!

the show goes on book st kilda

There was a volume of a history of St Kilda for sale plus some postcards and I bought these to share with my writing class, especially those who are writing life stories and memoir. Those who write historical fiction will find them a good resource too.

The detail of the fashions on postcards, what people are doing, the landscape or seascape, expressions on faces – all fodder for a writer to mine.

When I went to class on Monday, I showed the postcards to student Heather (90 this year) and lent her the book because I remembered a story she wrote about trips to St Kilda and having pony rides on the beach. The period the book covers, 1930 – 1983. 

Heather was thrilled, emailing me Monday night:

Am so enjoying the book. Found the name of our swimming coach, Alex Sauter who ignored me and spent all the lesson on my brother. What a wallow in old memories!

love and thanks Heather

Nothing wrong with wallowing in memories and the indigenous people of St Kilda have stories and legends too which we often forget when discussing the history of places. Stories and buildings from European settlement are only a small part of Australia’s history.

‘St Kilda’s’ Story Thousands Of Years Old…

Open House recognises this by stating:

ACKNOWLEDGEMENT OF COUNTRY

Our programming exists on what always was and always will be the land of the people of the Kulin nation. We pay our respects to Elders past, present and emerging, as well as to all Aboriginal and Torres Strait Islander people in the wider Melbourne community and beyond. Indigenous sovereignty has never been ceded in Australia and we try to be mindful of this in everything we do, given our focus on the modern built environment.

The vaults are what remains of the engineering structure of the 1890s and came about as part of the embankment works and built into the supporting wall for the cable tramway.

However, local historian and conservationist Meyer Eidelson who wrote the guide to some of the walks I’ve mentioned was interviewed about the vaults in 2016. 

In 1841, Derimut a leader of the Yalukit Willam who owned the land European settlers claimed as their own was bitterly disappointed by this theft. He cursed the settlement saying one day blood would rain from the sky and all would be swept away.

The shoreline of beach sands and the tea-tree grove is the traditional land of the Yalukit Willam clan of the Boon Wurrung. Legend tells of a grinding site for axes on the foreshore and also that the creator Bunjil who protects the Kulin Nation and travels as an eagle, placed rocks to stop floods and protect the indigenous settlement. Meyer believes the original foundation of the Upper Esplanade could be part of the network of those sacred rocks.

There is also more recent mythology about hauntings, victims, vampires and numerous intriguing ghost stories.

All believable when inside the vaults.

Light from the tiny vents creates shadows that dance across the floor and up the walls. The effects of the changing light from outside, the glow of artificial light inside, and the vibration from above and the steam of cars alongside plus the wind whistling through the arches interesting enough during the day but would be a dramatically different mood and atmosphere in the evening. 

On Sunday, as the foreshore and streets filled with families and others enjoying Open House, I recalled how St Kilda’s history is chequered with various murder stories, not to mention periods where almost every story was negative – either about drugs or prostitution.

The year I volunteered and was on duty at nearby Edgewater Towers, many of the stories centred around its suitability to feature in fledgeling Australian TV crime dramas because of the notoriety of some St Kilda residents!

I guess it would not be too difficult to imagine the worst if you were alone in one of the dank vaults. (Although they are surprisingly clean and free from the ‘back-alley/abandoned building’ aromas of rodents, rubbish and rotten food.)

Probably, because they have been sealed. Also with no plumbing connected and extremely thick brick walls, any living creature looking for residence would be birds through the top air vents – and yet there was no evidence inside of them.

However, there was a time when people did squat in the vaults and contrary to the general adverse image of people living rough, whoever claimed these catacombs as home left evidence of trying to decorate and soften the harsh reality of cold, rough bricks and concrete.

On Sunday, I encouraged the children who accompanied their parents, to look for the hidden (and some not so hidden!) objects pushed or stuck into cavities in the walls:

marbles, pieces of crockery, plectrums, mirror tiles, old rusty tin, pencil, CDs… a heart image…

A great place to have a writing workshop – perhaps at night with candles flickering…

  • Who put the objects there and why?
  • Were they found objects or had more significance?
  • How long were the people there?
  • Where did they go?

When I finished my shift for the day I was faced with the reality of watching a man settle himself on a bench for the night next to the vaults, his bright orange checked blanket belying the misery of his homelessness. The view of the foreshore and bay more a curse than a joy as a promised storm rolled in on the bruised clouds and I couldn’t imagine how cold his night was going to be.

I was reminded of two other issues in the public arena during the afternoon:

yulukit willum sign about plastic bags

Outside the baths, a timely reminder to ‘ditch plastic bags’ while sharing information about how traditional owners used plants.

Also, on duty at the vaults was Armah, a security guard originally from Ghana. We had a wonderful discussion about the fact Africa is a continent, not a country and how he has lived in Melbourne 21 years and never been in a gang!

I showed Armah a funny clip of the Ghanaian parliament which is doing the rounds of Facebook and he couldn’t wait to get home to tell his family and share it.

Armah has been back to Ghana a couple of times to visit family but like most migrants happy here, he considers that Australia is home.

I wish Dutton, Turnbull, Bolt, Guy et al – the pathetic politicians who dog whistle and use racist slurs to get votes could have chatted with Armah and hear the damage such targeted remarks do to communities.

Cold and tired, I caught up with my daughters for a cup of tea and a chat, sharing the memories triggered by my few hours in St Kilda.

  • I learnt to ice skate at the famous St Moritz rink along with thousands of other Melburnians in my age bracket.
  • I attended dances and functions at the St Kilda Town Hall.
  • Mordialloc Writers read at one of the first St Kilda Writers’ Festivals
  • I’ve visited numerous friends who live in different parts of the suburb
  • I still recall with fear my first visit to Luna Park and the terror of the scenic railway ride!

As I replied to Heather – there’s nothing wrong with wallowing in memories!

There is another post doing the rounds of Facebook –

Dalai Lama quote

The someplace may even be close to home. I wonder what building I’ll be allocated next year…

Who will I meet? What will I learn? What will I remember?

How many degrees of separation will there be… and will the weather be kinder!?

winter copy.jpeg

 

 

 

 

 

Corruption Unnoticed Is Corruption Unchecked – We Need Effective Journalists

journalist Walter Robinson

At the end of May, I went to Melbourne University to hear the AN Smith Memorial Lecture sponsored by Melbourne University’s Centre for Advancing Journalism, School of Culture and Communication, part of the Faculty of Arts. They always have interesting speakers but this year, especially so, because it was Walter “Robby” Robinson from the Boston Globe.

Most of us were first introduced to Robby through the movie Spotlight – his character played by Michael Keaton. The Boston Globe is the newspaper that disclosed the systemic sexual abuse of children within the Catholic Church in the Boston Diocese and the culture of protecting paedophile priests by the hierarchy of that church.

The topic relevant in today’s Australia (and indeed throughout the world) after the Royal Commission into Child Sexual Abuse set up by the Gillard Government and a redress scheme for the survivors currently being negotiated by the Turnbull Government.

talk at mlb uni introducing Robbie

Introduced as a journalist whose career has spanned 34 countries, 48 out of 50 of the United States while working under four different presidents and covering one and a half wars, Robbie looked suitably humble as an eager audience applauded a long and loud welcome.

He began by stating that Boston and Melbourne were sister cities. When there was little reaction he said, ‘Am I the only one who knows that?’ which provoked laughter. (I must admit I didn’t know that!)

Can democracy survive without a strong aggressive press?

Before coming here, he researched Melbourne and read about our ex-mayor. He remembered an interview with Doyle in the USA a few years ago when he encouraged tourists by suggesting when Americans visit they have a great time with their credit cards. With sarcasm, Robbie said, ‘That alone is a good reason to go back to cash.

He acknowledged and praised three Australian journalists in the room who had exposed child abuse: Louise Milligan, Joanne McCartney and Paul Kennedy.

He had hopes and fears for journalism and the future of democracy which “works well for everyone if  journalism works well for everyone.” He believed the suppression laws against the Australian Press are too oppressive.

free-press-quote-from-churchill

He had been interviewed and asked to comment on the case of Archbishop Wilson and because it was still before the courts declined to refer to him by name. He was glad Archbishop Wilson was found guilty but unfortunately, the comment he made about him going to prison produced an ABC headline that did not match his careful comments.

It was corrected a couple of days later after he complained but Robby believes the initial reporting is symptomatic of headlines being used as click-bait or sensationalism!

For him, holding the powerful accountable for their actions and the truth is the responsibility of good journalists.

Currently, the Pope and USA President suggest they are both humble men – we know this by the Pope’s actions and the fact the President tells us repeatedly.

(Muted laughter followed this comment and I think it would be reasonable to say finding a supporter for Trump in the room would be like looking for the proverbial needle in a haystack!)

The Boston Globe and Spotlight

Robby then launched into an explanation of the investigation he is most famous for and the background/inspiration to the film Spotlight.

He asserted there was an international conspiracy in covering up child sexual abuse in the Catholic Church – right up to the Pope and powerful others.

There is an international conspiracy regarding Trump but in his eyes, it is caused by the journalists and investigators being stubborn about seeking the truth.

  • Catholicism is a major religion in the USA and Australia. About 20% of the population identify as Catholics but not all go to church.
  • In 1972, Robby covered the Vietnam War but the horror of the Spotlight story won’t leave him alone –
  • he discovered there is evil within the Catholic Church and frequently that Church will do something to replenish this. His sense of outrage is never exhausted!
  • When men working in the Lord’s shadow cast children into hell there is not ‘two sides to every story’.
  • Accountability is now being taken up to high authority in Australia but not in the USA. In the USA the system is overly deferential to the powerful.
  • 2002 – the story broke following five months chipping at a granite wall because the Roman Catholic church had ready access to all levels of political power.
  • They were able to make documents disappear from court files. They sat on the shoulders of the Boston elite because in Boston half the population is nominally Catholic.

quote about tyranny

The journalists accessed 10,000 pages on the one priest – Father John Geoghan, the main subject of Spotlight the movie. Once it was available, within two weeks 105 victims came forward, 400 were in the shadows.

It was revealed Geoghan had been shuffled to six parishes in 30 years!

This proved the Church’s first priority was to avoid public scandal.

Nowhere in the 10,000 pages of reports was there one mention of the children’s welfare. The Church never called the police.

The children didn’t matter!

Documents revealed 10.8% of priests were reported in 60 years – over 250 priests in Boston had molested children. Robby believes if, in any diocese, there is under 8% reported then a cover-up is still happening!

  • The Cardinal of Boston knew the predators but let them stay as priests until retirement. Bishops and Cardinals internationally all play from the same script.
  • There are reciprocal arrangements to send priests elsewhere.
  • They are expert at hiding abuse and protecting priests.

It is refreshing to see Australia is calling to account those in power who knew. He is following Archbishop Pell’s case closely.

When the Boston Globe covered the story it was the dawn of the Internet Age, their stories went viral and victims from all around the country and the world telephoned or emailed them – even from Australia

Pre 2002 there was no wildfire – the power of the Internet got the story noticed nationally and internationally, immediately.

Technology precipitated and has participated in journalism’s financial free fall.

Yes, the Internet spread the story but the Internet has damaged investigative journalism. In the first redundancies, staff went from 550 to 500, the second round another 30 went, and another buy out of the Boston Globe will reduce its size more.

Links in the chain are missing now when it comes to reporting. Many jobs like the court reporting jobs don’t exist. It was the court reporter that first alerted the team to the story.

However, the Spotlight Team initially were four reporters, now they are eleven, including two editors.

Their story showed that people value investigative reporting more than anything – even sport. Readers want reporting that holds the powerful accountable!

quote about leadership

The Boston Globe owner is a billionaire. He doesn’t want to make a profit but he’s also not into losing money. Since the Internet half of the journalistic jobs have vanished 25,000 reporters gone.

Along, Came Trump…

“He speaks with conviction, knowing nothing, and without saying anything.”

The tradition of The Anonymous Source is important – we learned that other unstable world leader cancelled the summit (and then it was on again).

November 2016 when Trump started to attack the New York Times and other papers claiming fake news they had one and a half million digital subscribers – now it is 3 million – people want to read a paper they can trust.

Obama used the Espionage Act to flush out whistleblowers but blinked to protect press freedom. Trump thinks journalists are scum – he may not blink!

  • He marginalises and demonises journalists.
  • He is going after Amazon because the owner of Amazon owns the Washington Post
  • He reads fewer books than other presidents have written.
  • Winston Churchill said a free press dangerous – not for ordinary citizens!
  • Lying is the message of Putin and Trump –  lie blatantly to assert power over truth itself.
  • Remember Trump had the crowd yell ‘you lock them up’ or ‘lock Hillary up’ – his mantra
  • It is the role of the press to protect the public from the excesses of government, not the role of government to protect the supposed excesses of journalism.

Warren Buffett has predicted printed newspapers will vanish; home delivered papers will be as rare as buggy whips.

Quality over Quantity

Remember the four characteristics of media writing

  1. accuracy
  2. completeness
  3. efficiency
  4. precision
  • Robby fears the quality of a lot of online journalism – it’s about generating clicks and contains a lot of spin…
  • In the USA the First Amendment has lost some of its lustre
  • The Globe doesn’t cover court cases anymore yet that was the origin of the Spotlight investigation.
  • The Cable News Network attractive to the public yet dangerous if the only source of news

He believes in a future for investigative reporting but will it do any good can they breathe life into a calcifying democracy?

Democracy is in decline, people are taking freedom for granted.

In the American 2016 Election, 93,047,000 didn’t show up and of 183 million who voted many were ill-informed.

Image result for when integrity dies within a person

Corruption Unnoticed is Corruption Unchecked

end of talk at melb uni 1

Louise Milligan one of the journalists from the ABC who has reported on child abuse in Australia asked about the confidentiality of the White House briefing. When things are said ‘in confidence’ to a room full of journalists why aren’t they reported when they are in the public’s interest?

Robby admitted that it started with Kissinger under Nixon and ‘everybody hates it’.  A horrible tradition. It is a way for senior officials to share whatever secrets or knowledge they have and they’re worried about.  But they won’t say it in public – and no journalist will break the tradition – apart from the ‘anonymous Whitehouse spokesperson’ perhaps …

A journalism student asked: Has paedophilia within the church stopped or is the next generation carrying it on?

Robby gave an example of Brazil.

Ten times as many priests were exposed in Boston than Brazil, yet compare those numbers to the size of the Catholic Church and population in Brazil.

The current Pope who is South American took steps regarding the Bishops in Chile but there are many Catholic countries where nothing has been done yet.

This Pope is determined to get the Bishops out of their limousines and the Cardinals out of their Cadillacs but will he be prepared to clean out every single bishop and archbishop?

The Effects of Writing About Child Abuse Do Not Go away

How do you protect yourself from second-hand trauma when reporting on a case like this?  

Robby’s answer, ‘Not well!’ 

His wife, a nurse, and she believes the Spotlight team all suffered PTSD. He is still affected emotionally by the stories – he couldn’t relate one tonight because he knew he would break down.  “Maybe I should see a counsellor.”

His honesty about the stress and emotional pain of investigating and reporting the story important to share.  I often wonder about the journalists who cover horrific murders or war and disaster stories. There are some images or experiences you can never forget. How do you return to normal life?

Another student asked a question about Rupert Murdoch and Fox News, which is increasingly a mouthpiece for the Whitehouse and Trump.

Robby’s suggestion,  “People should wean themselves off cable news!”  It is corrupt and they are a powerful potent force. They don’t report news but tell stories and have stories about the news…

If you want to improve journalism and keep it alive you must support the newspapers who still do their job.

I checked my old journalist course notes from when I did my Masters in Writing:

Broadcast news emphasizes the superficial rather than the substantive.  It’s too short and too shallow.  Pictures or audio drive the story.  Critics say broadcast news reporters often pick out the sensational or the most unusual aspect of a story to emphasize rather than what is the most important. “If it bleeds, it leads.”

Broadcast news writers depend on clichés rather than information, particularly to end their stories. Many reporters find an ending that says in effect, “Who knows?” or “We’ll have to wait and see” convenient for ending a story.

For years, the reporter who covered the Supreme Court for National Public Radio would end her stories about cases before the court by saying, “A decision is expected by next summer.” That sentence – besides containing a passive verb construction – tells us nothing since most Supreme Court cases are decided before the court recesses for the summer.

It Takes Resources To Pay Good Investigative Journalists

Robby subscribes to the New York Times, The Wall Street Journal, The Washington Post and he suggests when you read The Guardian send them money like he does. (This got a large round of applause!)

Robby teaches journalism and has done for the last ten years

He believes there will always be good jobs for good students and he finds his students are excited about the digital age and the different platforms available. They are hopeful and not surrounded by doom and gloom.

It used to be when people came to the Newsroom, the old hands taught the new reporters, now it is the young ones teaching all the old Journos  the new technology!

Information in a free society is a valuable commodity the next generation will monetise it.

When asked if the Pope is a reforming pope, Robby said he thinks the Pope is wanting to bring an end to clerical culture, the person must come first and he is trying to get the church elite out of their limousine lifestyles.

But change within a church or a religion takes generations and Robby fears it will never make it in several lifetimes.

He is a Catholic and he thought he’d be buried by the church but he is very much a lapsed Catholic and now a golf tragic…

An interesting lecture providing great discussion points for conversation on the way home.

And considering our own ABC, which provides remarkable examples of investigative journalism, is under threat, and yet again, we have The Espionage and Foreign Interference Bill, tightening laws regarding whistleblowing, protesting and data retention – the word that springs to mind is vigilance!

images.jpg

The Staging Post – A Film To Reaffirm Belief in Humanity

staging post.jpeg

Yesterday afternoon as part of the City of Kingston’s Refugee Week I attended a screening of Jolyon Hoff’s film The Staging Post – a remarkable film that leaves an indelible mark on your heart. 

The moving story of the creation of a school and the building of a cohesive community shows a different aspect of the lives of refugees awaiting processing in Indonesia. 

I don’t know whether it will change hardened opinions about our government’s refugee policy but it does confront and challenge and it definitely adds to our knowledge by telling a story not widely known!

This year, Refugee Week, held from Sunday 17 June to Saturday 23 June, aims to raise awareness about the issues affecting refugees and to celebrate the positive contributions they make to Australian society. (There are over 800,000 Australians who were once refugees!)

The film screening plus a scrumptious afternoon tea was held at Shirley Burke Theatre in Parkdale, a comfortable venue for the film and the Q and A session afterwards with the director Jolyon Hoff. A stark contrast to the lives of the thousands of refugees throughout the world who can’t help but feel nobody wants them when you see the news clips and read many of the comments on social media!

A Positive Ageing representative from Kingston’s Access and Equity Committee welcomed the audience and introduced Jolyon. Joanne mentioned it was World Refugee Day and this year the theme was “With Refugees.

Words And How Stories Are Told Matter

When you hear the word refugee what images spring to mind? 

  • Rohingya in their hundreds and thousands trekking through jungle mud,
  • boat people from Afghanistan, Sri Lanka or Iraq arriving in Australia and suiciding in mandatory detention,
  • Africans floundering in the oceans off  Italy,
  • camps in Jordan with miles of tents,
  • crying women and children at the Mexican and U.S.A. border,
  • crowds of young men rioting in Germany,
  • ramshackle cities in Calais and numerous other towns … ?

Do you think the terms asylum seeker, refugee, illegal immigrants, migrants are interchangeable?

Naming is a choice, the words we use – especially the words our political representatives and media choose – are important.

The choice reflects not just perspective on how and why people have begun a journey, but who the people are and their rights. It especially says a lot about the speaker or writer’s opinion towards the people they are describing, and their knowledge or lack thereof.

By choosing to describe asylum seekers as illegal immigrants, economic migrants, or boat people it is easy for politicians to justify denying refugees basic human rights and classify them as less deserving of help.

Define A Refugee

A refugee is a person who “owing to a well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group, or political opinion, is outside the country of his nationality, and is unable to or, owing to such fear, is unwilling to avail himself of the protection of that country … ”

The 1951 Convention relating to the Status of Refugees

Protecting refugees is the core mandate of UNHCR.

The word refugee comes from French and was first used in the modern context following the revocation of the Edict of Nantes in 1685, which sent the Protestant Huguenots to flee the religious persecution by the French King Louis XIV.

There have been many pograms, persecutions, wars, land clearances, and oppression since.

For most of us, it was the horrendous displacement of people caused by WW2 that has cemented ideas and images in our mind about who or who isn’t a refugee and whether there is empathy for them as opposed to the fear, distrust and contempt that many populist leaders exploit.

The Director’s Introduction

Jolyon came to the story 4-5 years ago when living in Jakarta with his family because of his wife’s work. In 2013, the news broadcast the Australian Government’s latest ‘detention overseas’ policy by announcing anyone arriving by boat would be detained offshore in Manus or Nauru islands; they re-instated mandatory offshore detention.

  • He realised that in the 15 years of asylum seekers being in the news he had never met one.
  • He wondered who are these people and why do they want to come to Australia?
  • He decided to visit where refugees gathered, ostensibly to arrange to make deals with people smugglers and get to Christmas Island to seek asylum in Australia.
  • He drove to the outskirts of the city, went over a shaky bridge and arrived at Cisarua, a bustling village, but also the place considered a staging post for boats to Christmas Island.

The driver pointed to a man and said, ‘Over there, that’s a refugee.’

three film makers.jpeg
Muzafar, Khadim, Jolyon

The meeting with ‘the refugee’ changed both their lives. Hasan introduced him to a cousin, Rizwana who said he must meet her brother, Muzafar, who was a photographer.

Jolyon asked all the ‘stupid but obvious’ questions:

  • Why did you leave your own country?
  • Was it really that bad?
  • How did you get here?
  • How do you manage to live?
  • Why do you want to live in Australia?
  • What is your plan, if you have one?…

Muzafar was an amazing photographer with beautiful photographs of Central Afghanistan who had teamed up with seventeen years old, Khadim who had made short films on his mobile phone and after posting them on the Internet had won awards.

Jolyon considered himself a good filmmaker, he’d studied in Australia but was stunned when he saw Muzafar’s photos and Khadim’s films – films oozing authenticity, raw footage from when both men decided to raise their voices and present their lives, culture, countries to the world and to keep a record of their incredible journeys.

Muzafar and Khadim are Afghan Hazara refugees who were stuck in Indonesia when Australia “stopped the boats”. They faced many years in limbo – at one stage the UNHCR said 5 years, some people had been there 10 years, and the forecast now is 15 – 25 years!!

Not only did they collaborate and complete this film with Jolyon but the majority of the film is about the creation of the Cisarua Refugee Learning Centre an amazing community school that began with a $200 donation, two rooms, one trained teacher and two teenage assistants.

It now has 18 teachers and managers teaching nearly 200 students a day – 110 students in morning classes and 57 older women and mothers ( many illiterate in their own language) in the afternoon. They are trialling Skype classes by a teacher in Australia.

Cisarua Learning Centre.jpeg
Cisarua Learning Centre

When we started we had no idea. What should we teach? How should they teach? Little by little we found our way.

Muzafar Ali

The film does not skirt over the fact that the major issues in the refugees’ lives remain. They are not allowed to work in Indonesia and rely on friends, family, supporters to donate – they receive support from locals as well as concerned people in Australia.

  • Indonesia allows refugees to stay but gives no help or pathway to citizenship
  • Refugees are not allowed to work and not allowed to attend school (since the success of Cisarua, this rule has been ignored!)

There are family members still in their home countries but also others who have been resettled in Europe, USA, Canada and Australia. Unfortunately, some have family members here but because they arrived ‘by boat’ the new, tougher laws in Australia will not allow family members to be reunited!

“Courageous People Never Give Up”

The real value lies in the process behind the outcomes – refugees building trust in one another, confidence, participation in problem solving and decision-making, and a general sense of starting each day with a purpose. After more than two decades working with refugees, this is certainly the most effective pre-departure preparation program I have encountered.

Lucy Fiske, Chancellor’s Postdoctoral Research fellow, UTS, Sydney.

I hope many people see this inspirational film – an example of people who have been brutalised and forced to flee their own country in fear yet proved their resilience, courage and resourcefulness, by creating an amazing community that flourishes on hope.

The film is a must see – riveting and balanced – you laugh and you cry. This is about stateless people creating an energy, a force for the future. No longer perpetual victims or voiceless – they are telling their stories.

Adults with a variety of skills – plumbers, electricians, carpenters, artists, designers – renovating and fitting out a decrepit building into a functioning learning centre…

Two little girls learning to recite the alphabet, others reciting times tables whispering the answers to each other when one stumbles…

Afghani children dancing and singing, preparing for a concert to meet local and overseas children at an International School for the first time – the wonderment and uninhibited joy as the children mix with each other and share their knowledge… asylum seekers and refugees have something to give, a connection is made and a relationship grows in strength…

Khadim finally accepted to be resettled in the USA and as he packs his few belongings, he talks of his love for his mother and sisters, his fears for them, his determination to change a system that has women exchanged as young as 13 to marry men they do not love. He holds a traditional hat his mother made him, snuggles his face close, ‘It is so precious, it carries her smell…’ tears glisten –

I join him… and cry again when Muzafar and family arrive safely in Australia.

with mother and sisters.jpeg

After the film, there was a Q and A session and we discovered that one little girl in the film who had dreams of becoming a doctor is now at college in Texas, top of her class and writing a novel! She will achieve her dream one day!

Khadim arrived in Los Angeles, was given a $500 cheque although he didn’t have a bank account and was turfed out of the ‘resettlement’ hotel after one night and told he was on his own and to get a job.

Using the networks he established online, he is now travelling across America and Canada visiting former refugees. Part of a bigger story than Cisarua. The friendship and project that started all those years ago when Jolyon sought answers.  Understanding continues to grow and spread.

How to Help And Stand With Refugees

To support the filming and an outreach programme you can make a tax-deductible donation at the Documentary Australia Foundation – documentaryaustralia.com.au 

Muzafar fared better because Jolyon and his wife met him and his family at Adelaide airport when they were finally accepted here for resettlement. He is at Adelaide University and also travels promoting the film and the Cisarua Learning Centre, which is now a Public Benevolent Institution with DGR (deductible gift recipient) status.

Their idea is that refugees can be part of the solution. They “uncover the sleeping leaders within the refugee communities and encourage them to start their own refugee-led initiatives, and then accompany them for as long as they need.”

Cisarua Refugee Learning Centre has inspired at least 20 other refugee-led education centres and changed the lives of thousands of refugee families.

There are now over 1,500 refugees receiving education in Indonesia from approximately 100 refugee teachers.

To donate and to find out more to help and stand WITH refugees

  • email info@cisarualearning.com or
  • write to Cisarua Learning, Supporting Refugee Education, Unit 4, 484-486 Bronte Road, Bronte NSW 2024.
  • Buy the DVD,
  • read the stories,
  • stay engaged and be in there for the long haul.

Everywhere asylum seekers are being demonised. We are told stopping the boats was to prevent deaths at sea, yet where is the outrage at the prison-like conditions and deaths on Nauru and Manus – another suicide as recently as two weeks ago!

Many wealthy countries are closing their borders – the USA has halved their refugee intake, Canada has reduced their numbers too and Australia has radically reduced their intake but Minister Dutton and his BorderForce remain tight-lipped and make it increasingly difficult to discover numbers. Most media are denied access to Manus and Nauru.

We need films like The Staging Post to show us a world most of us will never experience and reveal the stories of courage, resilience, love and hope of refugee communities and maybe – just maybe Australians will rediscover the ability to warmly welcome ‘those who come across the seas‘!

The ground-breaking documentary, The Staging Post, is vital in shifting the understanding and debate in Australia to better understand the impact of our current policies.

Tim O’Connor, Director, refugee Council of Australia.

The staging Post is an incredible film and needs to be seen by as many people as possible. it shows how the refugees in Indonesia would make extraordinary citizens, in any country.

Glynis Johns

 

The ABC Informs, Educates and Entertains & We Need It More Than Ever!

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Our Public Broadcaster Under Threat – Again

At the Liberal Party Conference yesterday, members urged the Turnbull government to privatise the ABC, a move one Crossbench Senator said is confirmation of the government’s “secret plan” to sell off the public broadcaster.

I don’t believe their plan has ever been secret – it has been on their wish-list for years – especially after that IPA conference in 2012, emceed by Andrew Bolt with keynote speakers: Tony Abbott MP, Gina Rinehart and Rupert Murdoch!!

Abbott and his ilk are nothing but consistent idealogues and persistent.

The 2:1 vote among 100 MPs and Liberal Party members and the fact NOT ONE party member (including the sitting MPs) spoke in opposition to the motion speaks volumes about the Coalition’s goal to break-up and sell this important PUBLIC asset.

The Victorian Branch of the Liberal Party proposed the sale of the ABC as policy in 2013 and if the Coalition is elected again (state or federally), it looks as if they’ll get their wish.

The ABC has a charter, which states they are to inform, entertain and educate. They are funded by our taxes and are answerable to taxpayers.  Commercial broadcasters exist to make a profit for their shareholders.

In Australia commercial media is mainly Murdoch media.

In 2013, when the Coalition were bleating about left-wing bias of the ABC there was a lot of research into the media in Australia:

“Rupert Murdoch controls 130 newspapers, owns 50% of 16 others, has digital media sites for most of them and publishes some 30 magazine titles throughout Australia. He also has interests in the news agency Australian Associated Press (AAP), FoxTel, Newspol, Festival Records, film production and distribution, DVD production and two National Rugby League teams. In Australia, control is exercised through News Limited, wholly owned by News Corporation Limited, an international media giant completely dominated by Murdoch. His son Lachlan is a non-executive chairman of Ten Network Holdings Limited, with TV stations in five State capital cities.”

Barry Tucker – Truth in Media blog

When Gina Rinehart bought into Fairfax, which owns the remaining newspapers, television and radio stations, it was no coincidence that the biggest debate in Australia at the time was over a price on carbon!

Mitchell Collier, the federal vice-president of the Young Liberals, who put up the motion yesterday, reportedly suggested the ABC could be sold to a “media mogul, a media organisation”, or it could be floated on the stock market. No guesses needed as to who that would be!

Do we really have such short memories – what David McKnight said at the time still applies if we sell our national broadcaster!!

  ‘The traditional justification for journalism has been that it can act as a watchdog on powerful government and corporations. What is now occurring is that representatives of one of the most powerful sectors in Australian society, the mining industry, are seeking to dominate one of the important accountability mechanisms in a democracy.”

David McKnight writing online for The Conversation

The current minister overseeing the ABC, Senator Fifield has already made budget cuts of $254 million with the loss of 1000 jobs and he remained silent at the conference!

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We need An Independent Voice Reporting & Investigating The News

The media monopolies ensure the wealthy and powerful have ease of access to express their points of view. The ABC is a much needed independent voice because so far community radio and television are too weak and lack resources to make much of an impact.

The growth of social media has increased the number of voices heard but with terms such as fake news and its reality, we still need to have a trusted source with professional journalists.

The Coalition have been bleating about the left-wing bias of the ABC  for years and use this as a reason for privatisation. But to them, left-wing bias translates as being critical of business, especially big business and ironically Labor Party supporters accuse the ABC of right-wing or pro-government bias!

Market research firm IBISWorld noted in June 2016 that:

The industry’s four largest players, News Australia, Fairfax Media, Seven West Media and APN News and Media, are estimated to account for over 90% of industry revenue in 2015-16. The Australian media landscape is one of the most concentrated in the world. An extremely small number of firms, most notably News Australia and Fairfax Media, publish content that reaches the large majority of Australians.

Investigative Journalism a Necessity

Investigative journalism can only be done if the money and funding are made available to pay for the weeks of necessary digging. The editors of the Guardian newspaper, which has years of quality investigative journalism to its credit expressed a concern about this issue when newspapers started to go online and readers expected their news for free.

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In the last Labor Government, Federal Minister, Stephen Conroy made sure any appointments to the ABC board and chairmanship were at arm’s length from the government. A committee including Gonski and Fels provided shortlists and suggestions during the overhaul. Conroy introduced and increased triennial funding and reaffirmed there would be no adverts – although for online it was ‘no ads on principal websites’.

That all changed once Abbott was elected.

The ABC Board and chairperson Michelle Guthrie need to know we want the broadcaster to remain in public hands, and advert free.  Remember it was John Howard who sold Radio Australia to a born-again Christian group.

The funding to the ABC is never enough to do quality Australian drama hence so many imports from the BBC, but in today’s world there are increasing co-productions and changing commercial partners. However, if we want outstanding Australian drama such as the current series Mystery Road, it is vital we have a broadcaster willing to fight for Australian stories, Australian settings, Australian actors!

Keeping Every Bastard Honest

We must remember the value and achievements of the ABC regarding investigative journalism:

Investigative journalism is a form of journalism in which reporters deeply investigate a single topic of interest, such as serious crimes, political corruption, or corporate wrongdoing. An investigative journalist may spend months or years researching and preparing a report. Practitioners sometimes use the terms “watchdog reporting” or “accountability reporting”.

  • like Chris Masters investigations for Four Corners: Big League (1983) sent the chief magistrate of NSW to prison,
  • Moonlight State (1987) exposed and ended the corrupt rule of Bjelke Petersen in Queensland, and
  • French Connections revealed the French Government’s deliberate sinking of The Rainbow Warrior making headlines throughout the world.
  • The consistent high quality of Four Corners and other ABC programmes whether it be exposing companies like Adani, the extent of domestic violence, the corruption within banks,  the live-baiting in the greyhound racing industry, flaws of the investigations of key gangland murders in Victoria, underpayment of workers in 7-Eleven and other franchises, horrendous conditions in aged care, the neglect of those with a disability, the scandal of the Murray Darling rorts …. the list goes on.

The contribution of SBS has also informed and educated by broadcasts such as the amazing documentary about disastrous economic and ecological effects of the oil spill by BP in the Gulf of Mexico, which ruined towns and livelihoods. The documentary revealed BP’s long history of stuffing up:

2003 their cost cutting meant old machinery not replaced,  2005 machinery over 70 years old produced disaster at a Texas oil refinery, and a huge spill in Alaska in 2006. Workers were told to remain silent or they’d not get compensation.

Only publicly funded news provides this much detail.

Only the ABC published information about the effectiveness of a carbon tax in 17 areas including Scandinavian countries and large provinces in USA and Canada and quoted esteemed British scientist Steven Hopper that to plant a tree is the biggest personal contribution anyone can make to alleviate climate change. Every street should be an avenue.’

A message you will not hear on commercial networks (televsion and radio) whose owners worked consistently to malign, undermine and oust Julia Gillard as Prime Minister. 

Chief of CSIRO (1992-2002), Graham Pearman, an international expert on climate change left the CSIRO in 2004 because the Howard Government refused to listen to his concerns and make long range plans to cope with migrants from the flooded Pacific Islands.

We of course had members of the current government (Abbott, Dutton and Morrison) laugh at Pacific islanders getting their feet wet in 2015 because of rising sea levels!

Why do governments believe that selling off public service companies is in the interest of the public? There has not been a single case where privatisation of a public enterprise becomes a success in terms of providing a better and more cost effective service. (the communications, electricity industries, Commonwealth and State banks, and even Centrelink examples…)

If the Coalition gets their way a privatised ABC will no longer bring us important documentaries or news. There will be less accountability for government departments and politicians, less exposure of corruption, less in-depth analysis of world news and how it affects Australia.

What Can We Do?

  • Donate to or join  the Friends of the ABC and protect the public broadcaster.
  • Telephone, write a letter or email your local member of parliament AND Senator Fifield explaining your concerns, requesting a COMMITMENT to properly funding and resourcing an independent ABC.

Here is what I wrote in 2008 – yes the battle has been going on for a long time – feel free to copy any of the wording!

Dear ABC & SBS Review Panel

This submission is to request that the ABC is rebuilt to an organisational strength to be a producer of high quality content, be commercial-free, accessible to all and that it is well-funded.

It is important that the funding is such that the ABC is independent of

Government and commercial influences. This is particularly true of the fast growing Internet. There is no place for advertising on any ABC network or website.

The ABC must not engage in business activities that risk damaging public trust in its integrity, or influencing content, including the placement of ABC content on commercial websites or alongside commercial advertising. On air announcements should be limited to the ABC’s own services.

We need a public broadcaster that provides a service to all Australians without fee regardless of delivery platform. In this time-poor world, online

Is an essential way to access the ABCE and its archival material records the history of our nation and should be freely accessible to all.

The ABC has a reputation to uphold producing programs of cultural value and intellectual integrity. It should be the foremost producer of innovative quality content without having to rely on outsourced production in any program areas.

Being Australia’s open university the ABC plays a necessary and great role as educator. It is well-resourced to be at the forefront of technological change offering quality content on all delivery platforms: radio television and online.

The national services broadcasting matters of national significance, the regional services linking rural Australia and local services in cities and towns are all so important informing local communities. But also very important is the international presence we have with Radio Australia, a much needed and respected link to so many in countries and this service desperately and urgently needs rebuilt and increased funding.

The ABC Charter must not be changed in any way, which will diminish the ABCE or compromise its independence.

The ABC and SBS should remain separate entities – they have their own distinct voice. The ABC is a comprehensive broadcaster reflecting the full spectrum of interests of the Australian community and SBS focussing on multiculturalism gives Australia its diversity in this global world,  representing the nature of our population.

Please support and fund these important broadcasters to ensure Australia’s art and culture advances and the benefits of democracy are reaped by all Australians and our geographical neighbours.

Many thanks

Mairi Neil, Mordialloc 3195.

 

The campaign has begun… social media galvanised – time to defend and befriend!

 

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A Visit to Hotel Sorrento A Must For Writers

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Last Thursday night I had the pleasurable experience of catching up with an ex-student and a current student at a performance of Hotel Sorrento at the Shirley Burke Theatre in Parkdale.

It was a dark and chilly night (notice I didn’t say stormy!) as I walked from Mordialloc to meet my fellow writers. With the portent of heavy rain in the air I admit thoughts of the sensibility of hibernation during winter crossed my mind – perhaps the bears have got it right!

However, the warmth of friendship and Scottish canniness won (supporting live theatre comes at a price, albeit a reasonable one)… and I just walked more briskly towards the golden opportunity to experience a form of creativity and writing I love, and the promise of meaningful dissections afterwards over coffee.

(One of my students, Lena –  actor/singer/writer/entertainer knew a cast member – and it was wonderful to have insights from the actor’s point of view, plus learn a little about ‘life on the road’ from a performer’s perspective.)

Hotel Sorrento returned to Shirley Burke Theatre as part of HIT Productions twenty-year anniversary tour to suburban and regional venues.  A thank you to the City of Kingston for upgrading and maintaining this great venue!

A classic and much-loved Australian story, Hotel Sorrento won several awards and strongly resonated with audiences:

  • Winner 1990 AWGIE Award – Stage Award
  • Winner 1990 NSW Premier’s Literary Award – Drama
  • Winner 1990 Green Room Award – Best Play

Richard Franklin even turned it into a film in 1995 and it has been chosen for school curriculums.

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Lena took a selfie and included yours truly.

What makes this drama so popular?

The play tells the story of the reunion of three sisters who grew up in the seaside town of Sorrento, Victoria. The “hotel” is the nickname for the family home where the verandah was a popular gathering spot for the father and his mates to drink after fishing trips.

Hilary still lives in the family home with her father, Wal and 16-year-old son, Troy. Her husband died when Troy was only six years old and she stayed in the family home, subsequently nursing her mother through cancer and now looking after her father who has a history of heart trouble.

Another sister, Pippa, an independent businesswoman, is visiting from New York and the third sister, Meg, is a successful writer, whose novel Melancholy is short-listed for the prestigious Booker Prize. She returns from England with her English husband, after a ten-year absence.

When the three sisters are reunited they face the expectations and constraints of family life, not helped by the sudden death of their father, Wal. Meg’s semi-autobiographical book triggers underlying familial tensions, miscommunications and ‘unfinished business’. 

Although a play about family, the ties that bind, the strength and weakness of collective and individual memory and the importance of communicating, Hotel Sorrento is also distinctly Australian.  There are words and phrases, humour, cultural references and the exploration of the age-old rivalry with England and the perceived influence and pull of the UK regarding art and artistic endeavours. And considering the majority of Australia’s population live within 100 kilometres of the coastline, the setting is one easily identifiable to Australians and a setting we are renowned for internationally.

The play premiered on stage, almost three decades and another world away from the Australia of 2018, yet as the playwright, Hannah Rayson reflected in 2015:

Hotel Sorrento was a play I wrote very early in my writing life. I think it is structurally flawed and expresses much of my inexperience as a dramatist. I have written a lot of plays since then and got better at the craft.

But there is something about this play. I wrote it with utter love and tenderness. I had a baby during the writing process and that added to a sense of dreaminess and perfect serenity. It was a journey of the soul, and even though I now think it’s clunky in part, it’s strange because actors, directors and audiences love it. It is my most produced play. It has had hundreds of productions. And the royalty cheques from it have saved my bacon on more than one occasion. It has a certain magic that I like to think comes from the happiness in which it was written.

quoted from an Essay by Cate Kennedy 2015

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Taking our seats

The audience at Parkdale agreed the play has a ‘certain magic,’ everyone laughed and applauded in the right places with interval abuzz with conversations. As is usual at these events the women outnumbered the men and I can imagine many of us were like actor/writer Kate Mulvaney who wondered what sister they identified with most!

I’m a writer from a small Australian country town who took off as far away as possible – to as many places as possible – to live and work. And one of my pieces just happened to be a (semi) ‘autobiographical’ piece. And the characters just happened to be based on my family members – their names changed. And I had also just happened to contend with a prodding press on how my family responded, and I found myself sitting at dinner tables as those very family members discussed ‘what was true and what wasn’t’.

I, like Meg, also got asked to partake in countless forums on ‘women in autobiography’ and deal with people assuming, as a female writer, that my play (legitimate, in my mind) was some form of extended ‘diary entry’, and would I ‘ever consider writing something fictional?’

And so I am Meg.

Who are you?

Are you Hilary – the broken but coping carer?

Are you Pippa – the feisty but sentimental younger sister?

Are you Wal – representing the old Australia that gets away with its violent past through its infective jingoism, embracing your own cultural stereotype?

Or Edwin – blindly intelligent and culturally bewildered?

Are you Troy – the truth-seeker and heartbreaking hope-giver?

Or maybe Dick – the belligerent, topsy-turvy patriot?

Or perhaps you are Marge – keenly entertaining them all, just trying to enjoy the art?

First published in 2014 by Currency Press as ‘What Goes Around Comes Around’.

How Do You Write  “Australian”? Is There Individual versus Cultural Identity…?

“Hotel Sorrento is a powerful new Australian play that begins as a comedy about national identity and develops into a familial drama of great poignancy and reverberation.” 

Peter Craven, The Australian

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It is important to retain and represent whatever language and customs we have that is different from American or British productions, and not always succumb to please their audiences.

It was refreshing to hear a familiar place or lifestyle described. This pleasure captured in the opening scene as the character Marge Morrisey reads from the novel Melancholy and excitedly points out the landmarks mentioned and makes the connection that she lives where the novel is set and is seeing what the author describes…

This triggered a memory for me of taking my teenage daughters to see Candy (2006), a Heath Ledger movie set in Australia, and they commented afterwards it was wonderful to hear Aussie accents, see familiar cars and street names, and even Aussie dollars! 

There is an undeniable Australian flavour about Rayson’s play, which is part of its appeal – even if some of the cliches in the dialogue are a bit outdated and inserted for the comedy value.

It doesn’t matter that many Australians have indeed moved on from the ‘cultural cringe’ every second academic talked about in the 80s (the period span of the play) because some people still participate in cutting ‘tall poppies’ to size, and other references to feminism and sexism are sadly still very much in the news.

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Note the ironing board on the left!

Something that Rayson has mastered throughout her writing canon is exploring truth – personal, familial, social, sexual, cultural. And nothing tells us the truth more than a mirror. Rayson uses metaphorical mirroring throughout the text of Hotel Sorrento… she layers and layers and layers each truth until it warps dizzyingly and shifts our search as a reader and a viewer. On a glassy sea, the Moynihan family gather. They argue whether to keep a sentimental painting of their town on the wall or take it down.

The three sisters – Hil, Meg and Pippa, see mirrors of themselves and images of their potential – good and bad – in the faces of each other. They see their mother in an iron – a steaming ghost still working away in the corner of the room. A brilliant representation of a female in the shadow of the 1950s Australian landscape – smoothing out the family creases whilst ageing slowly, dying relatively young, unhappy, ‘outlived by the iron’. The sisters lament their mother strangely, almost flippantly:

‘Life sucks’, says Pippa.

‘We loved him more than we ever loved her’, says Hil, referring to their father Wal, who she also said was ‘a bastard to our mother’.

‘She’d be here night after night on her own’, says Pippa. ‘Always got the rough end of the stick, our Mum…’

And this is where I shudder. I mourn for this dead woman. I’m aware of her world – I see her type amongst my own family.

Essay, by Kate Mulvany, first published as ‘What Goes Around Comes Around’ Currency Press 2014

This early scene in the kitchen (the only room of the family home shown and obviously the hub – how true is that for most families!?) connected with me.

I’m sure others in the audience remembered Julia Gillard’s famous speech pointing out Tony Abbott’s sexism and misogyny, ( his reference to women of Australia doing the ironing!) yet the Australian people chose him as Prime Minister – Rayson spot on with her observation about gender inequality.

Hotel Sorrento offers contemplation and reflection on more than just feminist talking points as well as the strong leading roles for women.

‘Who has power, how do they wield it and who suffers at the hand of it, are questions [that] always interest me,’ Rayson began. ‘So I go to the family to explore them. I understand it in a family context. I can take the audience with me on that and make the links between what we understand in our known worlds with how the tensions might express themselves politically, in a bigger national canvas.’

quoted from an Essay by Cate Kennedy 2015

The Writer’s Craft

There is so much to learn from a well-written and performed play, especially one like Hotel Sorrento, which seems to be a perennial favourite.

I’ve written before about the importance of Australian plays and their value.

Writers continually mine their life and experiences and “turn” it into a novel. Memoir and life writing are popular genres. Scripts for stage or screen adapt stories, novels, and real-life events all the time.

Hotel Sorrento poses interesting discussion points and challenges the notion of ‘truth’ in writing a story. Who owns a story if you are including family history or biographical content? What are the writer’s responsibilities? Should authenticity be compromised?

Some writers, like the character Meg, insist they have written fiction because they have changed names or tinkered with “the truth” and like Meg, may be shocked that instead of accolades they are accused of a lack of integrity because they used family memories for personal gain.

Family or friends may be resentful of the use of their history, or they may be interested in delving into the past, some may accept the author’s interpretation or perspective, others may be angry or resentful.

  • How accurate is your memory – is all memoir really creative non-fiction?
  • Do women write differently to men?

Dialogue is crucial to a play and how the story is ‘told,’ as well as the actions of characters. If a writer can master the art of dialogue, short stories and novels will be much more interesting and memorable.

Pacing and building tension important to keep the audience engaged, just as it is important in the written word to keep pages turning.

In most scenes of this play, there are only two characters talking and we gradually not only learn their backstory, the current position but begin to consider different viewpoints and piece together ‘the big picture’. The structure works well.

Character is important to story – a character must be believable, we have to be invested in their welfare or at least care what they do or say. We can love or hate them but they must engage us.

Hotel Sorrento has an interesting cast of characters and as mentioned before it is easy to identify with one of them, especially if you have siblings. The three sisters all come from the same working-class Australian background but their lives have moved in different directions with Pippa and Meg creating a life outside Australia.

The character Dick is a journalist – a different kind of writer to novelist Meg – and his strong patriotic views place him at loggerheads with Meg regarding Australian culture.

Marge, an artist and resident of Sorrento identifies with the character in the novel who represents Hilary and the novel reawakens her passion for Sorrento and her art, giving her confidence to move from ‘watercolours to oils’.

She is an observer and functions like the Greek chorus, providing an outsider’s perspective. It is fitting she explains to Dick how appropriate the novel’s title is considering the subject matter and that melancholy is not depression. She understands and empathises with the author’s sad yearning for the Sorrento of her childhood.

The father of the sisters, Wal and Meg’s English husband, Edwin provide most of the comedy and are almost caricatures of the quintessential larrikin Aussie and refined Englishman but are more nuanced especially with their interaction with the sea (which acts as a character).

A ‘cliff-hanger’ just before the interval comes as a shock and throughout the play, there is intrigue regarding the death of Troy’s father and his relationship with Pippa and Meg as well as Hilary.

The scenes with family members explore their relationship ‘issues’ and these are evenly juxtaposed with scenes exploring cultural identity through the characters of artist Marge and journalist Dick.

The tension palpable when they all come together for lunch in a scene that brings conflicting views to an explosive head.

There is no neat resolution to the drama, which leaves us wanting more and with plenty to discuss after the play ends.

Stagecraft

I thoroughly enjoyed Hotel Sorrento but (sorry there is a but!) the production was let down by a couple of glitches with the lighting that distracted from what was happening on stage.

After the interval, I’m not sure if the lighting was supposed to mimic evening or a sunset glow, but two huge red streaks appeared as a backdrop, at first making a V and then like two spotlights.

Later there was a blue background with a white pattern which may have been designed to represent clouds, seagulls, impending storm – who knows?

Dimming and increasing the lighting to change and highlight various scenes was often mistimed too. It’s to the actors’ credit they carried on magnificently.

When we were discussing these glitches with Lena’s friend we learned of the hazards and difficulties of producing a play when you are continually on the move, arriving at different theatres with limited resources and rehearsal times.

It is a miracle there are no major stuff ups!! Well done the consummate professionalism of dedicated actors who learn to adapt and shine.

Each theatre is different, the lighting console may have been strange to the operator, or faulty – the tight schedule and limited time at each theatre means no long rehearsals.

There are four major scene locations in Hotel Sorrento, which can be contained on one stage and controlled by the lights spotlighting whatever part of the stage is hosting the scene: the kitchen of the family home, the pier, the seashore, and Meg’s living room in England.

At Shirley Burke Theatre the stage was smaller than expected and some of the props wouldn’t fit – instead of a lounge suite for Meg and Edwin’s house – an armchair and a standard lamp had to suffice!

The other props closer than the actors were used to… and because the actors double as stagehands removing or rearranging props, it was an added burden to remember who picks up because of the last minute alterations.

The cast is going to be on the road for 77 performances – they’ve done Frankston, Dandenong et al… one night and one matinee in Parkdale, and then onto Moonee Ponds before heading to country Victoria.

So many community theatres, each one presenting their own challenges, hard work and dedication.

Look up the schedule, whether you are a writer, a lover of theatre or have dreams of writing or acting – if you can catch a performance of this anniversary tour of Hannie Rayson’s Hotel Sorrento please do – you won’t regret it!

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Purpose, Perspiration, Persistence – the Path to Publication!

 

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The above quote could be my mantra – I find joy in writing and teaching others to be confident writers.

  • Teaching others the various ways they can tell their stories.
  • Encouraging them to play with words until they find the right ones for whatever it is they are writing.
  • To move out of comfort zones, celebrate who they are and the life they have lived.
  • Write their legacy in whatever style they want, whether prose or poetry, fiction or fact, or a combination of both in creative non-fiction.

In the lessons, I prepare for my writing classes memories of my own surface along with an impetus to rediscover and rework writing from years gone by – in some cases discover prose and poetry I’d forgotten.

I often shake my head with bemusement or amazement and think: Did I write that? 

Forgetfulness – is it ageing or Alzheimer’s!!?

I’ll join the millions of others who Google and share a meme discovered because it suits!

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I know it is not de rigour to compliment yourself and I’ve always found it difficult to be self-promoting – it is much easier to promote anthologies that include other writers or the works of writer friends.

However, what a wonderful surprise this week to exchange emails with Matilda Butler, an amazing woman in the United States who helped me gain the confidence to tell my stories and make the first foray into online publishing in 2010!

Other stories followed on the website set up by Matilda and her friend and fellow editor, Kendra Bonnett: WomensMemoirs.com

And then three were chosen for a series of Kindle books in 2015, and these books have now been redesigned and published the traditional way.

Greetings to You…An Author in Seasons of Our Lives 

As one of the award-winning authors in the Seasons of Our Lives anthologies, I have exciting news for you. I invite you to join WomensMemoirs.com in celebrating the publication of paperback versions of the SEASONS OF OUR LIVES. The four volumes (SPRING, SUMMER, AUTUMN, WINTER) are filled with the best, the most inspiring award-winning stories — including yours.

The Kindle version generated a great deal of interest, book awards, rave reviews, bestseller status on Amazon, and we anticipate the paperback version will be equally popular — as well as providing you with the opportunity to let friends and family have their hands on your story.

Will you help us congratulate you and all the other award-winning memoir authors in these volumes by getting the word out about the new paperback version of these stories?

Many of your sister authors requested that these Kindle books be brought out in paperback. It definitely was a good idea, but life gets to be busy, much too busy.

In addition to regular blogging, writing, creating a new series of videos on Marketing, Publishing, and Writing (10+ hours of content to be announced in the coming weeks), and creating new products for our etsy.com stores, we found that it took more time than anticipated to create smart-looking volumes that you would be proud to own and give. These four volumes are finally available. 

These memoir anthologies won seven book awards, and stayed on the Kindle bestseller list for more than a week. A real success story.

Since that time, these stories have continued to resonate with readers across the US and many countries and are now also used by memoir teachers and coaches. These stories are not only inspirational. They are also exemplars of memoir writing.

We’re all modern women and like digital technology. BUT there is still something special and satisfying about holding a book in your hands, enjoying a story, setting it aside on the coffee table where it lands with a thud rather than a ping, and returning the next day to read more.

From May 14 – June 15, Seasons of our Lives – Spring, Summer, and Autumn are specially priced at just $9.97 on Amazon and the fourth season, Winter, is priced at $10.97. On June 16, these volumes increase in price to $11.97 and $12.97 respectively.

The email resonated with me!

Call me old-fashioned but to hold the hard copy in my hand was more thrilling than having a digital copy on my computer and I thank Matilda and Kendra for all their hard work making that dream a reality for the women whose stories are showcased in the four anthologies.

The links to the printed books are:

Seasons of Our Lives: Spring      https://amzn.to/2KklLXN
Seasons of Our Lives: Summer   https://amzn.to/2HWoSXq
Seasons of Our Lives: Autumn     https://amzn.to/2HUEGtH
Seasons of Our Lives: Winter       https://amzn.to/2KlyXLN

yellow rose with Helen keller quote

Writing In Tune With The Seasons

Ironically, I was in the process of searching what I had written about winter to prepare for lessons and discovered the story about my mother published in the series of Kindle books about the seasons.

And then Matilda’s email arrived…

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SEASONS OF OUR LIVES: WINTER includes 33 memoir vignettes and takeaways to get you thinking about your life, and perhaps writing your own stories. Five of these stories include a treasured family recipe along with the story and tell us of the scents of winter.

The mini-lessons that follow each award-winning story cover many of the topics important in memoir writing such as:

  • creating a memoir title,
  • crafting a powerful opening,
  • linking openings and closings,
  • choosing a powerful point of view,
  • incorporating sensory details for reader engagement,
  • adding character descriptions,
  • showing (not telling) emotions,
  • using dialogue effectively,
  • understanding how time and place can be used in tandem or as stand-alone elements,
  • making word choice a priority,
  • discerning the different impacts of present versus past tense,
  • considering vignette topics to write about,
  • choosing between letting the reader figure out the story behind the story or spelling out all the details,

And much more!

IMG_5917.jpgI was fortunate to meet Matilda and her husband Bill when I went to the USA in 2012 and we spent a lovely day together as they showed me Portland, Oregon.

Although we are almost down to the ‘Christmas” staying-in-touch category I value their friendship and the happy memories we shared.

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Seasons Of Our Lives – memoir for everyone

The stories in the four volumes will charm, intrigue, captivate and inspire you because they speak of and highlight all our lives with details of :

  • childhood,
  • coming of age,
  • adulthood, and
  • ageing

At the same time, the memoir vignettes encompass:

  • passion,
  • friendship,
  • love,
  • sacrifice,
  • betrayal,
  • disappointment,
  • survival, and even
  • unexpected joy

The stories tell of lives intersecting with history, profiling ordinary yet extraordinary experiences unique to the authors – and at their core, they tell of all our lives.

Seasons of Our LivesSpring, Summer, Autumn, and Winter include more than 100 award-winning true stories. They’ll make you laugh. Cry. Feel joy. Experience sorrow.

I have stories in three of the books: Spring, Autumn and Winter.

Rereading them in print was exciting but reading Matilda and Kendra’s critique and  “take-away” advice after all the stories an insightful and inspirational addition to the value of the book, not just as a memento but as a teaching tool.

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The Writer’s Path

I never envisaged that my story would win any writing competition run by WomensMemoirs.com nor did I think them good enough to be chosen for the book series – first Kindle publishing now traditional…

… the path to publication certainly does involve having a purpose (what will we write about?) perspiration (all those hours of writing, rewriting, editing and rewriting) and persistence (for every story sent somewhere you add to your pile of rejections!).

The Editor & Publisher’s Path

Matilda Butler and Kendra Bonnett have co-authored several books together:

  • Rosie’s Daughters: The “First Women To” Generation Tells Its Story – a collective memoir
  • Writing Alchemy: How to Write Fast and Deep – a manual to improve your writing
  • Tales of Our Lives: Fork In The Road
  • Tales of Lives: Reflection Pond

Kendra is a blogger, has ghostwritten several books, is a marketing executive who develops marketing materials for corporations, and a speaker and memoir coach.

Matilda is a psychologist, blogger, online and in-person memoir coach and writing conference speaker. She writes and teaches in Oregon and offers classes in Hawaii.

In recent months, Matilda’s husband Bill has had several operations to save his sight, yet through it all, she kept working on the layout for the anthologies.

Feedback from other authors reveals the covers have their desired effect — grabbing the (potential) reader. It was not a seamless process converting the digital books to print – especially as several years have passed since initial creation.

Matilda and Kendra decided to have a completely different layout and new covers.

The interior layout worked out well. That’s part of what took me so long. The first proof copies looked terrible. I started over with the layout and got another set of proof copies. Then I saw additional elements I could put in. After a couple more rounds of getting the printed proofs, I finally was happy!

We have memoir coaches using them in teaching and that’s quite rewarding.

The books have won the following awards:

  • Next Generation Indie, First place, Women’s Issues
  • Global E-book Award, Gold, Writing Non-Fiction and Silver, Anthologies
  • eLit Book Award, Silver in Anthologies and Bronz in Women’s Issues
  • Los Angeles Book festival, Runner Up, Anthologies
  • San Francisco Book Festival, Runner Up, Anthologies
  • New York Book festival, Runner Up, Anthologies
  • Northwest Book Festival, Honorable Mention, Anthologies

I am humbled and privileged to be part of such a wonderful writing community and holding the books in my hands has given me a little extra oomph to knuckle down and write some more.

Often my writing takes second place to my teaching and helping others achieve their writing goals – Matilda and Kendra have inspired me that there are enough hours in the day and days in the year to do both!

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