In Episode 2 of Race in Society, Associate Professor Alana Lentin and I are joined by Jill Gallagher, Chief Executive Officer of the Victorian Aboriginal Community Controlled Health Organisation (VACCHO), who are leading COVID-19 pandemic responses in Victoria. She discusses how the pandemic amplifies existing health and social inequalities. Also on the panel is sociologist, Professor Aileen Moreton-Robinson, who is Professor of Indigenous Research at RMIT University, and author of countless critical race books, including, ‘The White Possessive‘. She demonstrates how her theorisation of Aboriginal sovereignty disrupts how the pandemic is currently understood. Finally, we also speak with sociologist Dr Debbie Bargallie, Senior research fellow at Griffith University, and author of the excellent new release, ‘Unmasking the Racial Contract: Indigenous voices on racism in the Australian Public Service.’ She talks about how Aboriginal people are excluded from social policy, which has compounded poor decision-making on public health during the pandemic.Continue reading Indigenous Sovereignty and Responses to COVID-19
My trip to New Zealand Aotearoa was lovely. I was a guest of the Women in Science group, the New Zealand Association of Scientists and various other partner and sponsor agencies. In Wellington, I gave a talk about gender equity and diversity. I discussed how intersectionality can be used in various national models of change, to increase the number of minorities and White women in leadership positions. I also addressed some considerations for creating a more inclusive research culture that draws leadership from Indigenous scientists. I then joined a panel of distinguished academics to further discuss diversity in the local context.
Most of my trip in New Zealand was spent at the University of Auckland. I gave a talk on intersectionality and the March for Science as well as attending various meetings providing advice and listening to progress and thinking on inclusion in science. The campus is stunning. This is the inside of the Clock Tower, an impressive tall, white building with beautiful architecture.
Check out more about my trip, the art, culture and food. Continue reading Aotearoa New Zealand Sights
Being Chinese in Aotearoa: A Photographic Journey. This is a stunning and informative history of migration. It documents difficulties and triumphs in the face of ongoing racism. Highly recommend visiting if you’re in New Zealand Aotearoa. On the left you can see Appo Hocton (Ah Poo Hoc Ting), who arrived in his 20s, in 1842, to become the first documented Chinese-New Zealander. Continue reading Being Chinese in Aotearoa
At the Corsini Collection: A Window on Renaissance, at the Auckland Art Gallery Toi O Tāmaki. The Corsini family settled in Florence in tge 13th Century and had a stranglehold of power in banking, trade and Government. They had ties to the strongest families in Florence, the Medici (there’s an excellent social network analysis article that documents how families used their social ties to maintain influence). The Corsini also had strong religious capital, with tge cardinals, one Pope and one saint in the family. The latter is seen at the end here – Saint Andrea Corsini. There are two bullet wounds in the painting, which was painted in 1630, and hidden behind a safe wall in 1944. A soldier shot through the wall, noticing fresh plaster.
The ‘Mini-Matsuri’ Japanese Festival in Chatswood. Continue reading Mini-Matsuri Japanese Festival
This is the Rocks Discovery Museum. It’s interesting historically as the artefacts tell the story of Sydney prior to European invasion. But it’s more fascinating sociologically – in how this history is represented. The first room you see (“Warrane. Pre-1788”) uses words like “arrival” and “first contact” to describe the relationship between colonialists and traditional custodians of Sydney, the Gadigal people. The second room (“Colony. 1788-1830”) uses words like “settlement” and “colony” prominently… but not *colonialism.* The word “invasion” only appears on a side panel – this display is excellent, reflecting on British treatment of Aboriginal people as a “catastrophe.”
For the past three years, I’ve written about the gender and race dynamics of the chosen portraits, painted by children up to the age of 18 for the The Young Archibald Prize (the “Young Archie”). Most of the subjects are women, especially mothers. Few artists and subjects are people of colour. This year, while mothers, grandmothers and sisters feature, described for their caring qualities, I was delighted to see a handful of works by and about Asian Australians. Remarkably, two of these paintings, one by a nine year old and another by a 16 year old, explicitly depicted themes of death in terms of acceptance and wonder. Truly wonderful.
I’m at the “Love Is… Australian Wedding Fashion” exhibition at the Powerhouse Museum.
This was a very interesting exhibition but it’s not really about “Australia.” It’s about White Australia. It starts with a room about “early history” – which begins with “convicts.” Already Aboriginal and Torres Strait Islander people are erased, but to add injury, the room uses an unnamed Indigenous song that plays in the background to a room full of White colonisers. There is only one Aboriginal designer in the entire exhibition – Dharruk and Darkenjung woman Robyn Caughlan (in this video) – but no couples. Continue reading Love Is… Australian Wedding Fashion
Tjanpi Desert Weavers
Minyma Punu Kungkarangkalpa (2013), Tjanpi Desert Weavers
A bonus visual sociology, so we can all share in the glowing loveliness of the Vivid Festival, an annual event in Sydney. Runs from May to June.
[People gather in front of a fountain that is lit up with a large red lotus flower. In another scene, a structure shaped like a tree – with a tall concave stump and three cylindrical disks on top – is lit up like a tree with flying birds and leaves spreading and growing. Music coming from the installation is a pleasant instrumental]