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Any government decision can cause hurt to some groups in society. There is a difference, however, between decisions that are only painful and those that are vindictive. The former may be regretted, but vindictiveness implies a satisfaction in causing pain that does not arise out of need. The reason for it must be sought in the minds and hearts and culture of those who devise the policies.
Many refugees in Australia live in conditions that the rest of the population would find unacceptable. Most of the 192 refugees who were transferred to Australia under the Medevac legislation between February and December 2019 are currently held at hotels in Melbourne and Brisbane, known as ‘alternative places of detention’ (APOD), where they have had no access to the outdoors or fresh air for more than 12 months.
With all the congratulations that have been going around following Melbourne achieving zero COVID-19 cases there is one group that has been entirely overlooked. These particular people remain in a prolonged form of hotel quarantine, unable to mix with the general public. They are refugees and asylum seekers brought to Australia under the now defunct Medevac legislation from Nauru and Manus Island.
If society were a mine, refugees would be the canaries in it. Their condition reveals whether the currents of public air are pure or toxic. By that standard the present currents in Australia are noxious. They mark a change from the first generous response to the coronavirus to the meaner reconstruction of the economy.
Tall Fences, Taller Trees, directed by Dutch-based Iranian filmmaker, Arash Kamali Sarvestani, is a companion to Chauka, Please Tell Us the Time, which Sarvestani co-directed with Kurdish-Iranian writer and Manus Island detainee, Behrouz Boochani. On its most basic level Tall Fences, Taller Trees documents the making of the first film, but it is far more than that.
This year Refugee Week has been swallowed by the disruption caused by COVID-19, and by the fracturing of society in the United States. In a world where people naturally turn inwards, those who seek protection from persecution receive little public attention or sympathy. It becomes all the more important to reflect on the world of which refugees are part and why their lives matter to us.
Broken wall hand sanitizer containers, hand soap shared by a large number of people, and six people sharing a bedroom would not be allowed at hotels where returning travellers are in 14-day lockdowns. They would be viewed as breaking government restrictions on safeguarding against the spread of COVID-19. But these are the conditions at Kangaroo Point hotel, the Brisbane hotel where around 114 refugees and asylums seekers are under the coronavirus lockdown.
But insecurity breeds insecurity. In the face of insecurity we can feel insecure. Our identity as persons can be shaken by the insecurity of our circumstances. This is not inevitable. Nor is it necessarily lasting. Some people will be temporarily or lastingly paralysed by anxiety; others will be more resilient.
I've been watching Stateless, the ABC drama about Australia’s immigration detention system, with some reluctance. Not because it is poor, but because it is so powerful.
This is cosmically far from saying that these are equivalent matters to the death camps of the Holocaust. But if we are to be serious about acknowledging the depravity of Auschwitz, we can at least take the lead from Katz on starting the conversation on why such events take place and do remain chillingly relevant.
Outside, a Martian-red haze kisses the windows. An ode to the future perhaps. Most of the people present are already aware of the Medevac repeal decision. The room is heavy with silence, the mood is sombre, but far from resigned. We want change, and are willing to have a crack at demanding it.
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