Here’s a typical example of how White people exercise and maintain racism. Kerri-Anne Kennerly flies into a rage about Saturday’s protests, led by Aboriginal people, seeking to change the date of Australia Day and establish systemic reform that includes a Voice to Parliament and Makarrata (treaty). Kennerly taps the table angrily, ‘Has anyone of them been out to the Outback where children, babies, 5 year olds are being raped. Their mothers are being raped. Their sisters are being raped. They get no education. What have you done? Zippo.’
Here, Kennerly evokes the same strawman argument that politicises rape and child abuse that has been used since colonisation to deny Aboriginal people rights. She could be referring to the Northern Territory Intervention, where the army went into remote regions to justify removals of Aboriginal children. The Intervention was NOT based on evidence – that’s already been proven. It has been catastrophic for communities. Continue reading Whiteness, Racism and Power
Visual sociology for December 2018! I bring you back some of the final sights from my secondent to the Central Coast. We delve into the political and health upheavals in South Africa from the past half-century. We then mosey over to the zoo, on a super hot day, and see that elephants know how to throw a good water party!
‘We are breastfeeding friendly’
I loved this sticker at a cafe in The Entrace, Central Coast of New South wales! 2 December 2018.
Roma is a beautiful film that covers issues of gender, race, class and violence in Mexico. Dedicated to, and based on, writer/ director Alfonso Cuarón’s childhood nanny and housekeeper “Libo” (Liboria Rodríguez), the film follows Cleo (the sublime Yalitza Aparicio), a young Mixtec woman employed by an affulent Mexican family. She has lived with them since the children’s birth, herself perhaps still in her 20s. She is beloved by the children, but is still treated like a servant.
Her woman employer, Sofia, also tells Cleo she loves her at a pivotal point in the film, even as we see how she flies into rage, diminishes Cleo and blames her for insignificant details. Sofia’s mother also lives in the household, mostly indifferent to Cleo, until tragedy strikes. At one stage, having been on her feet all day working, Cleo sits on the ground, holding the children’s hands, as the rest of the family sits comfortably on the couch watching TV. Sofia then directs Cleo to get her husband a drink after Cleo is settled.
These are women separated by race and class, but who are bound together by the men in their lives who neglect and mistreat them. The men are a wreck. Everyone, including Sofia, call the philandering husband ‘The Doctor,’ his status, vanity and whims disrupting everything around him. Continue reading Roma: Film Review
Disfruta – our visual sociology of October-November 2018.
Our backup career has been taken by The Unemployed Philosophers Guild. 1 October 2018.
We have all the time for…
The Bank, a local pub in Newtown, New South Wales, greets everyone with respect. Except racists, sexists, transphobes, direspectuful people and dickheads. Useful policy for our weary days. 2 October 2018. Continue reading We Have All the Time for Diversity
‘Maniac Universe,’ Sun Xun (2018), made with mineral pigment on bark paper with UV-A lights. The artist, born and lives in China, drew inspiration from Australia’s Southern Lights (Aurora Australia). ‘With the extreme natural spectacle of Aurora, you have a feeling of something impossible to capture or to comprehend in its entirety, much like the animal kingdom in Australia.’
Sun Xun, exhibition drawing on mixed media to depict a parallel reality of propaganda figures, mythical creatures, cities, ancient townships and our relationship to time.
Our visual sociology for August 2018 gives us the gift of union-inspired art, 130 years of contemporary works and a blue zebra.
State of the Union
Exhibition at the Ian Potter Museum of Art, about student and workers’ industrial action (mostly at Melbourne University and local industrial rights movements). Very interesting look at social protest and solidarity across groups. Banner art has been a staple element of the union movement, but eventually waned. The artform rose once more in the 1980s. One of the quotes is by Melbourne Union alumni, Christos Tsiolkas, who was the first in his Greek migrant family to graduate from university. His uncle pointed out that his working class labour made the university buildings possible. He warned his soon-to-be successful nephew, ‘Don’t ever forget where you come from.’ 9 August
The Vivid Festival, which lights up the streets of Sydney over June, is a big feature for this month’s visual sociology for June-July 2018. We marvel at the wonder of an enchanted Cinderella-esque Sociology of Trolleys. We meet a cool watermelon and other creatures along the way.
The Vivid Festival was as bright and enchanting as we’ve come to expect!
Let me tell you about Thelma, screening at the Scandinavian Film Festival. A young woman, the titular Thelma, has led a sheltered and conservative Christian upbringing in the country. She rocks up to university having never really partied, including no alcohol or drugs, and without experience with dating. While she has a strong bond with her parents, especially her dad – with whom she shares all her deepest thoughts – she is very lonely in her new environment. That is until she meets the vivacious Anja.
As it turns out, Thelma starts to be attracted to Anja, who promptly breaks up with her boyfriend. It seems Anja begins to fall in love with Thelma too. Thelma struggles with self loathing and tries to deny her sexuality and at the same begins to have inexplicable seizures that baffle doctors. Around this time, I was thinking: if I have to watch another ‘internalised homophobia’ horror (oh, forgot to mention it’s promoted as a horror), I’m going to throw my popcorn at the screen. (Except not really as someone would have to clean it up.) But the film goes in an unexpected direction. Continue reading Thelma: Film Review
Guess who had front row tickets to Dark Emu by Bangarra Dance Theatre?
Based on Bruce Pascoe’s wonderful and important research into Australia’s pre-history – the agrarian and aquaculture innovation by Aboriginal and Torres Strait Islander people people prior to invasion.
“This work cultivates a physical and visceral response to Uncle Bruce Pascoe’s book and our deep Australian knowledge. Whether we embrace it or not, we are this country – we are of the land, the water, the stars & the dark in between. As Australians awaken from a kind of collective amnesia, these are stories, ideas and practices we should all be able to access, learn from and respect… I feel like Australia is ready…. Dark Emu is a sense that we are part of something greater.” – Yolande Brown, co-choreographer.
“We’re told every day that the world is falling apart around us, but maybe if we just gripped onto something that was there before all this, it would ground us a little. Dark Emu reminds us to take a breath and cling to our piece of land.” – Daniel Riley, co-choreographer.
You must experience this work. The choreography and music are stellar. The dancers carry large props to phenomenal effect – from large rocks, to wood that is rearranged into shelter for the women and later fences to entramp them. A dizzying sequence centres on blow flies representing the contempt of the colonisers for the traditional custodians and their land, which they tried to destroy.
On in Sydney now to 14 July then touring nationally.