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The young in Myanmar have no personal memory of those events of 1988 and 2007. They are Generation Z, raised on the internet and with new ways of communicating. Their emotions overcome fear. Gen Z meets the deadly threat with humour and creative protest.
For those of us who already regularly shopped, banked, studied and worked via the Internet, it was easy to adapt to telehealth appointments with doctors and video calls with friends and family. Of course, these activities require access to the Internet — something 2.5 million Australians are without. A further 4 million access the Internet solely using a mobile connection. For these citizens, the pandemic exacerbated the existing digital divide.
The size and spread of government payments in past 12 months has held steady, and to some extent, improved the circumstances of many on low incomes or government support. The withdrawal of that support risks returning many to payments that do not provide for basic human needs.
On a superficial level, it makes no sense to commit so strongly to managing the impacts of climate change (adaptation) on the one hand while refusing to significantly reduce emissions (mitigation) on the other. On the other hand, when you start to unpack the logic of so much adaptation policy, this contradiction fades away.
2021 is set to be a big year for women’s sports — dependent on COVID, of course. Yet, if you looked to the Australian mainstream media’s reporting and coverage of sports, there’s a fair chance you’d get an idea that women’s sports are happening far less than they actually are.
It’s a tradition of mine to undertake my own “media watch” experiment following the annual Invasion Day rallies. I ended up being pleasantly surprised.
Precipitation before thunder/anticipation in the dusty wings/ premonition & catalyst/excavation site unseen/the poem poised to be written/a treble clef before dancing notes/the dapple around the whisper/a story unbirthed & untold.
The discussion in Australia as to how such atrocities are to be approached is telling. The call for responsibility has varied by degrees. Most tend to some variant of the rotten apple theory: a few particularly fruits that may be isolated and extruded from the barrel. Culpability can thereby be confined, preserving the integrity of other military personnel and, importantly, political decision makers.
Since the pandemic started to show its teeth on our shores in March, there’s been a trend to wave away any other matter other than COVID-19 with an examination of, ‘Just one crisis at a time — we’ll get to climate change after we’ve got the economy back on its feet.’ The only problem is we don’t have the luxury as a nation to solely focus on one crisis at a time.
This year has been a ‘unique’ year to study, to say the least. The impacts of COVID-19 on the sector have been not just trying, but simply devastating. I have not set foot in a classroom all year which, I have to admit, is one of the things I have always loved most about studying — the immersion within a learning environment.
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.
When I read Jess Hill’s piece in The Monthly which calls the coronavirus lockdown a ‘gendered pandemic’, I felt heard. I wanted everyone to read this article, to understand that feminist wins were being erased in the name of a national emergency, and that women were stepping up to the now larger domestic workload with a career cost further down the line.
145-156 out of 200 results.