Below is my visual sociology for the first quarter of the year, from January to March, 2019. Take a journey from the Central Coast to Melbourne, and back to Sydney. This is part of my Weekends With a Sociologist series. Much of the imagery feature elements of social justice, protest or resistance, perfectly encapsulating what fuels my perseverance as a blogger and visual sociologist. More coming very soon. Enjoy!
Something for everybody
The year started hot and creative. Having gotten yet another tattoo for my birthday only a month earlier, I went back to Japanese-Australian artist, Hitome, from Broadway Tattoo, to get my next piece. I had long been looking for a woman of colour artist to entrust my intricate pieces, and she was wonderful, smart and easy to work with.
The parlour features a large black and white framed poster with art by Good Time Charlie and a quote from Leonard “Stoney” St Clair (below). 2-4 January 2019
“I am in the business of rendering a service to this community for the small group of people who choose to have their bodies decorated in some way or another. I choose my intelligence and skill, wishing not to offend anyone, but instead with my love of mankind, do what good I can before I die.”
It’s an exciting season in Sydney, with multiple festivals concurrently keeping us entertained from April to the end of June. First up is one of my favourites, the Spanish Film Festival. I bought a pass to see 10 films, mostly from Latin America and half by non-Indigenous, non-Afro women directors. We have a long way to go with stories reflecting the writing and direction of minorities. The festival has, however, included stories with disabled, queer and/or other ethnic minorities as protagonists. Those are the films I’ve predominantly chosen. The rest are political stories. Today, I bring you the first of two posts reviewing films from an intersectionality perspective. The festival began in Sydney on 16 April and ends 8 May, before travelling to all metropolitan cities.
Let’s take a look at the political thriller, The Realm, which sweeped this year’s Goya Awards (the ‘Spanish Oscars’). Tremors is the compelling but distressing story of a devoutly religious gay man from Guatemala. Champions is a highly successful Spanish movie featuring an ensemble cast of disabled actors playing a famous basketball team. Crime Wave takes a serious premise (an emotionally abusive man is murdered) and turns it into a cascading set of comedic deaths. Yikes! Finally, another political drama, Rojo, swells from the early days of the devastating Argentinean coup. The players ponder: under which local conditions do national tyrants rise? The answer is from ordinary towns, where people are too polite to notice men arguing and boys “disappearing.”
Central Park Mall, where Palace Cinemas Central and Platinum is hosting the Festival
I’ve previously mentioned that I’d been away on secondment for six weeks at the end of last year. I was part of a national program that matches professionals from policy and corporate sectors with Aboriginal-controlled community organisations. I worked with Barang Regional Alliance (Barang) on the Central Coast, on their Empower Youth Summit, which was held last weekend, on 23-24 February 2019. Barang looks after the interests of 12,500 Aboriginal and Torres Strait Islander people on Darkinjungland. It was a pleasure to work on this meaningful project and to learn more about Barang and its partners, whom I touch on below. You can see the Barang team and my fellow secondees below.
Next time, I’ll talk a little on my project, and some photos from the weekend, attended by 120 Aboriginal and Torres Strait Islander youth. Today, I’m going to focus more on my broader experience on the Central Coast, especially the Aboriginal-Controlled organisations with whom we collaborated, as well as the cultural walks and sights. I’ll share with you a visual sociology of our visit to Finchley Campground, the beautiful rock art at Baiame Cave and Bulgandry, the Koori Art Exhibition, various national parks and festivals, plus much more!
I’ve been away for work for awhile now, and hope to bring you more on this soon. For now, I thought I’d share with you a post I had planned to publish weeks ago, but haven’t been able to finish until now. Let’s talk about the sociology of Indian people in Australia, with a case study of the Hindu festival of Diwali in Melbourne.
Indian migration to Australia has a long history, dating back to the 19th Century, with early records showing the British brought Indian servants (noting this may have included forced servitude). At the time of colonial Australia’s first Census, there were 1,800 Indian people in Australia. Today, Indian-Australians represent our fourth largest migrant group and they are also the biggest growing migrant group next to China, with their population doubling in the past decade, according to the Australian Bureau of Statistics.
Today’s Weekends With a Sociologist lunges us into the heart of Australian suburbia. There’s revelry in Australiania, a notion that I’ve never been especially comforable with, but we’re plunging in all the same! You’ll see there is much to cringe about, and more delights in store, in Jon Campbell’sWord. The Irish-Australian migrant artist lives in Coburg, an inner Northern suburb of Melbourne. The exhibitionis based on his artworks that use numerous light boxes to emphasise the language of the working class in the inner Northern and Western suburbs of Melbourne, the typical signage seen along country roads, and Anglo-Aussie surf culture. Banners host Aussie venacular, pub menu items, live music posters, and peculiar messages familiar to locals.
This exhibition includes Stacks On (2010) and the 65 metre mural commissioned by the Museum of Contemporary Art.
My Weekends With A Sociologist series is going to start coming to you more frequently and completely out of sequence. I will share with you my visual sociology adventures from different places, at different points in time, showing you what has captivated my sociological imagination most recently, through to what has lingered with me over time. The purpose of this series is to showcase what it is to see the world through a sociological lens. (For visually impaired readers, descriptions in the alt.) So let’s get started!
What better way to restart our journey, than with the enduring legacy of a strong Aboriginal woman, Barangaroo.
Beginning in the first week of January, Sydney annually hosts the Sydney Festival, with various sites around town housing performances, public art and sculptures, including many interactive installations. The best this year was the artwork, Four Thousand Fish, curated by Emily McDaniel, artist from the Kalari Clan of the Wiradjuri nation in Central New South Wales. The artwork blends sea song, visual story telling, sound, lighting, sculptures, landscape photography, music and of course, a beautiful nawi (bark canoe).
Held at the Cutaway in Barangaroo, every weekend this past January, the site was transformed into a public art sculpture that was set ablaze nightly at dusk. I attended an event hosted by the beloved street photographer, Legojacker (formerly from Melbourne, they had moved to Canberra in recent months).
Barangarro is named after the mighty Cammeraygal woman of the Eora nation, who defied colonialism in Gadigal, her homeland (also known as Sydney).
One of the themes of my visual sociology is the representation of science. Conservation is as much about social practices as it is about earth science, biology and other natural sciences. Today’s post is about the sociology of the National Arboretum, which sits on Ngunawal country. Ngunawal people are the traditional custodians of this part of Acton, west of the city in Canberra. Less than a seven minute drive central business district, this is one of the world’s largest arboretums for rare and endangered trees. I am no arborist. I cannot even claim to be a fan of gardening. I was interested in the Arboretum first in an attempt to capture a visual sociology of Canberra, and second to see how people interact with this place as a science centre. The focus of my post today is on the social dynamics of the Arboretum, especially on community aspects of conservation and the trees that drew the greatest interest amongst the crowds I saw: the Bonsai and Penjing Collection .
On Friday the 11th of March, I travelled to Auckland New Zealand for Kiwi Foo, a two-and-a-half day “unconference” where 150 participants from New Zealand and other parts of the world from a wide range of professional backgrounds self-organise the sessions. This includes people from technology companies, policy and community organisations, as well as academics . The idea behind Foo Camp is to bring together like-minded individuals who might otherwise not meet, and listen to one another and look for ways to connect in our common goal to make the world a better place.
In order to attend, one must be nominated by a previous Foo alumn from Kiwi camp or SciFoo from the UK. You pay for your own travel but all other costs, including food and lodging if you want it, are provided. When you accept the invitation, you nominate three keywords. Upon arrival, in a large hall filled with around three hundred people, each person stands up to introduce themselves by their name, their affiliation and their keywords, without elaboration. It took awhile but it was really fun. I went representing myself (and this blog!) and my three keywords were: gender equity & diversity; science communication; sociology.
Kiwi Foo proved to be one of the most personally challenging but most rewarding experiences I’ve had. It was an insightful sociological weekend. This is part one of two posts. Part one focuses on what I learned, how I was inspired, and why you should jump at the chance to go, should you get a chance. Part two contains my talk, Informed and practical ways to enhance gender equity and diversity in STEMM.Continue reading Sociology of Kiwi Foo, an Unconference
Canberra is Australia’s capital city, but you may not necessarily know this if you were parachuted in blindfolded, out of the blue. While Sydney is bustling with tourists and attractions, and Melbourne is brimming with multicultural events, Canberra is seemingly pedestrian. On a Sunday, the majority of the shops close at 4 PM, even in the city’s central business district, and on holidays, there are few people in the centre of the city. That’s because Canberra is, in many ways, a satellite city: our politicians fly in on weeks when Parliament sits, which ramps up the pulse of taxi drivers and plumps up some of our cafes and bars at peak times, every other week. Many people who live here are not locals. Young people tend to move away, while public servants and academics move their families here for their careers.
I had previously lived in Canberra for six months as part of a secondment for another job, many years ago. I was much younger then and, looking back, I did not really enjoy the city. I mostly spent my free time with groups who knew each other from graduate placements and often talked about work, even at 1 AM outside clubs – which is, by the way, the time that most clubs clubs closed back then (and likely do still). “Did you know he’s still an APS5?” (Australian Public Service Level 5) “He’s never going to be promoted!” I was surrounded by Anglo-Australian people who had little interest in multicultural experiences – having come from a highly multicultural part of Melbourne, this was a big change.
Back then I worked very long hours (and do still but not quite so intense) and, to be honest, I was often tired and I own the fact that I did not make a big effort to get to know the city. This time around, knowing that I’d be here a bit longer, I have gotten to know different types of people and have gone out of my way to get the most out of Canberra, by exploring more of its heart and culture. I aim to bring you a few visual stories of how I reacquainted myself with this city, with a visual sociology series I’m calling, Weekends With a Sociologist.
A special visual sociology from the Museum of Contemporary Art (MCA), Sydney. We start with the Energies exhibition and then explore the nature of loneliness in modern life. We end with our return to Canberra’s art precinct.
Energies: Haines & Hinterding
Below is ‘Encounter with the Halo Field,’ by David Haines and Joyce Hinterding. These Australian artists live and work in the Blue Mountains of New South Wales. They blend experimental and traditional media to investigate energetic forces as well as the intersection of hallucination and the environment. 23 August 2015