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I’ve been left wondering at the amount of oxygen being given to a particular branch of ‘pandemic analysis’, one that sees cost-benefit analysis taking centre stage, with all the disturbing suggestions that follow.
The arts and entertainment industry requires a sector-specific bailout created in consultation with a broad cross-section of arts professionals that considers measures for both the shut down and rebuilding. The reality is it cannot simply start up again once lockdown measures lift without support.
While there have been endless social media posts, political campaigns and the like about staying safe by staying at home, I have been concerned about the many people who are not safe at home and what this may mean to them. What will this mean for the woman who’s been living with a domestic violence perpetrator for years?
That’s it. People in mid-life fear death for many reasons, but disappointment must be one of them, for there are always so many things to do, so much in the world to see and to experience, a whole host of people to get to know, various ambitions to be realised, a great number of projects to be finished.
There are those who say we live in an era of outrage, but the outrageous and inhumane was always there; it's just that we are finally addressing it. It was demonstrated by the passing of the Medivac Bill, and the safe return of Hakeem Al-Araibi, that the voices of Australia, rather than the powerful few, are finally being heard.
As you couldn't enter Jordan with a passport in which there were Israeli stamps, officials in the Australian Embassy advised us to arrange a second, 'clean' passport. This was a weird business because we would be entering Jordan from Israel — our physical presence in Israel would deny the cleanliness of our passports.
As a result of existing funding regimes the value of human beings and of human creativity comes to be identified with their social function. People are valued for their economic output, and artistic works for the size of their audience or their critical reception. No space is left for recognising any inherent value that cannot be measured.
An old man boarded the bus, seating himself next to me and behind the boys. He was unshaven, and his jeans had seen better days. He sat quietly for a few minutes, observing the scene, and then he tapped the nearest boy on the shoulder. 'I'm impressed by your enthusiasm, and it so happens I've written a poem about that subject. Here it is.'
Australian writer Beverley Farmer died on 16 April. She and I had been friends, albeit usually long-distance ones, for more than 30 years. It seems to me now that we had so much in common that friendship was almost inevitable: it was just a matter of timing that first meeting.
Employable Me follows a group of neuro-diverse young people as they search for meaningful work. The insights the program offers are a call to think about the world of work and the role of employment as a social good rather than a purely economic one, and how we make employment more inclusive.
Freedom is a common word that is often used in our daily lives, but it is not easy to define. Freedom for me means being able to express myself and be outspoken. It means thinking for myself and being free to be curious. Finally it means preserving important economic, social, and cultural rights. I am a North Korean refugee who escaped in 2012 for this freedom.
The practice of appointing business people to oversee arts bodies is as questionable as referring to the arts as an 'industry'. Business and the arts work on almost diametrically opposed rationales. Understanding this might go a long way towards assessing the art world more intelligently.