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We are all beholden to our story of origin and the systemic realities we are born into. Regardless, now and historically, politicians, preachers and pundits sporadically look to reintroduce the discredited dichotomy between the ‘deserving poor and the undeserving poor’. The embodiment of that second label, historically, has been the Jobseeker (Newstart) recipient.
I was born Hazara in Afghanistan. It is a place where my people suffer constant persecution and discrimination, and additionally, where women are considered second-class citizens. When I was two years old, my parents fled Afghanistan. We first arrived in Iraq and were subsequently given refugee status in Iran. Despite the challenges of growing up a foreigner in Iran, I completed my teaching degree, and also qualified to be a lawyer.
About 1 in 6 Australians (18 per cent) live with disability, and many of these 4.4 million people face daily barriers to their full inclusion in education, work, services, activities, etc, not because of their disability, but because access has been structured around the needs, capacities and preferences of people who do not live with disability. Exclusion has always been a choice, but the pandemic has laid this reality bare.
The celebration of Eid Al-Fitr (the feast of breaking the fast) marks the end of Ramadan fasting. And this year, it has been a relief more than anything. It feels ‘normal’ again.
I never had to confront the idea that the British monarchy — and the British Empire at large — was built on racist principles and benefitted from racist practices. Not until it came from the mouth of one of the Royal family’s favourite iconoclasts, Meghan Markle.
The recently released report of the Royal Commission into Aged Care does not hold back in describing a situation that should be abhorrent to us all. As the report notes, ‘substandard care and abuse pervades the Australian aged care system’.
It’s usually January that white blindfold think pieces around Invasion Day start, but this year they’re getting in early. I cannot help but think this has a lot to do with the right in Victoria feeling completely dishevelled and disempowered at this point in time and lashing out.
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 we want to renew religious language and images we must begin with attention to the words we currently use, noticing their resonance as well as their meaning. It is then important for the language of prayer and reflection to be grounded in deep contemporary experience.
In the choppy waters of public conversation, rulers have recently attracted much attention as they have bobbed along on its surface. This is not unusual, but in these months the attention has been more frenetic and perhaps harder to read. Whether it be Trump, Johnson, Andrews, Ardern, Berejiklian or Pope Francis, there have been unusual eddies about them that merit reflection.
A common argument is that publicly-funded artists take unnecessarily from the ‘average Australian’. In the current international crisis, this argument fails to recognise that artists and arts workers are just as deeply impacted financially by COVID-19 as the ‘average Australian’ in other industries.
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.
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